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ANNALS OF THE IRISH HARPERS
ANNALS OF THE
IRISH HARPERS
CHARLOTTE MILLIGAN FOX
WITH PORTRAITS
NEW YORK ■
E. p. DUTTON & COMPANY
31 WEST TWENTY-THIRT> STREET
1913
DEDICATION
TO THE
xrCMT HON. THE EARL OF SHAFTESBURY, K.C.V.O., K.P,,
PRESIDENT OF THE IRISH FOLK-SONG SOCIETY
343106
PREFACE
In preparing for publication the " Annals of the Irish
Harpers," my constant aim has been to do justice to the
memory of Edward Bunting, who rescued from oblivion the
last auUientic records of ancient Irish Minstrelsy. The honour
of this achievement belouf^s rightly to him and is shared,
moreover, by the town of Belfast. Here he listened to the
strains of the last minstrels ; here, cheered and encouraged
by an enthusiastic band of fellow workers, he lived and
laboured from childhood till middle age. It is a somewhat
remarkable fact that the capital of the Ulster Plantation
Colony should have been the scene of such efforts to pre-
serve the relics of the civilisation of native Gaeldom.
Edward Bunting's collections of Irish music were first
brought to my notice by one who is now amongst the most
venerable of Belfast citizens, the Bight Hon. Bobert Young,
P.C. I had then just recently completed my musical studies
on the Continent, and had come home to settle in Ireland.
It was news to me that this commercial centre had anything
to boast of in connection with music
When in course of time I became Hon. Secretary of the
Irish Folk-Song Society (founded 1904), Mr Young con-
tribnted to our journal an article on Bunting and his work,
which awakened great interest. Meantime through the
medium of the Feis Ceoil and the Gaelic Kevival in Ireland
renewed attention was directed to the harp. Belfast was
not behindhand, the instrument again became popular on
PREFACE
concert platfonos, and indeed occasionally a picturesque
band of harps graced the orchestra of the Ulster Hall.
In conaequeDce a friend wrote asking me to select a harp
for her daughter, at one of the leading London warehouses.
I went there, and, having selected an instrument, was about
to leave, when it came into my head to ask, " Do any old
wandering harpers ever come in here to bay strings ? " The
attendant smiled somewhat cynically, and I felt that my
question had been a foolish one, for the days of the last
minstrels are surely over. " Well, no," he said ; " we have no
such customers ; but, by the way, a gentleman was in here
not long ago, who would interest yon. He bought s harp,
and when giving the order he said, ' It is only right that I
should have a harp in my house ; for it was my grandfather
who preserved the music of the ancient Irish harpers.' "
Eagerly I asked for the name and address of this
purchaser, who turned out to be Dr Louis MacKory of
Battersea. A brief correspondence resulted in his inviting
me to hia home to inspect certain papers belonging to bia
grandfather, who was no other than Edward Bunting. On
my arrival at the doctor's house, he met me with the abrupt
remark, " Now I hope you are an Irish woman, for I think
some one from Ireland should handle my grandfather's
papers."
When I said that I came from Belfast, his countenance
cleared, for had not Bunting's labours from first to last been
connected with it, and he seemed satisfied that he had found
a fit and proper person to go over the old manuscripts.
At this time I hoped for nothing more than some gleanings
of unpublished airs and some personal memoirs and letters
for the IrviK Folk-S&n^ Journal ; but as I went through the
mass of documents which Dr MacBory put before me, I saw
that a great amount of unpublished material had survived.
Here were musical note-books, letters, faded documents,
which demanded most careful consideration. I grew more
PREFACE
and mote absorbed in the study of them, and in the end
the doctor decided that 1 most take the box away with me,
and investigate them at leisure. Then be added to my
delight by telliDg me tbat there were other papers in a
box in Dublin, and that he would try to obtain them for
me. He explained that Edward Bunting had two daughters,
Mary Ann and Sarah. The latter, who married Mr E.
MacKory of Belfast, was his own mother, Mary Ann
Bunting, who married a Mr James Wright in Dublin, had a
daughter Florence. This lady is the wife of an eminent
Dublin architect, Thomas Manley Deane, bod of Sir Thomas
Kewenham Deane. Certain of the Bunting manuscripts
were in her possession.
On the occasion of my next visit to Ireland, I went
armed with an introduction from Dr MacEory and inter-
viewed Mrs Deane, with the satisfactory result that another
box of Bunting manuscripts was confided to me.
I may here in passing comment on the fact tbat Bunting's
family has been lai^ely connected with engineering and
architecture. His father was a mining engineer, his son
Anthony, who died in early manhood, showed great talent
aa an engineer, and hia granddaughter's marriage connected
her with a family in which architectural skill has shown
itself hereditary. Her husband is now Sir Thomas Deane,
having been knighted by King George, on the occasion of
the opening of the College of Science, Dublin, of which he
was one of the architects.
The investigation of all this mass of papers occupied me
pleasantly for many months. In the note-books I found
many beautiful airs which Bunting had never published,
and which I drew on for the Irish Folk-Song Journal. Some
I arranged and published as Stnu/a of the Irish Harpers
with words in English and Irish. However, as I pored over
the manuBcripte, I felt that there was material here for a
book. The manuscript " Life " of Arthur O'Neill, the harper,
PREFACE
deserved to be publiahed in full, thougli Bnnting, with the
assistance of Samuel Ferguson, had osed many anecdotes
from it in the piBface to his last collection. The journal
of Patrick Lynch bad never seen the light, and Dr
MacDonnell's letters were of great interest. Above all, I
felt that a memoir of Bunting was called for, and so
embarked upon the task of authorship.
From first to last I have relied much on the help of
my sister. Miss Alice Milligan, who has had considerable
literary experience and a knowledge of Irish history.
AmoDgst books of authority on our subject matter,
I must acknowledge indebtedness to Eugene O'Curry's
" Manners and Customs of the Ancient Irish," Bonn's " History
of Belfast," and " Old Belfast," by E. M. Young, M.B.I.A.
(the latter volume was invaluable as a guide to local history),
Dr P. W. Joyce's various works and writings of Pr Hyde and
Dr Sigerson, and the " Autobiography of Wolfe Tone," edited
by R Barry O'Brien. Dr W. H. Grattan Flood's "History
of Irish Music," was always at hand for reference. From it I
have quoted an account of Patrick Lynch, a Clare man and
author of a " Gaelic Grammar," whom he takes to be the same
as the Lynch who taught Irish in Belfast and toured Con-
naught for Bunting. It is only right to state here that this
has been questioned. Mr Seumas Casaide, a Dublin Gaelic
scholar and Bibliophile, has prepared a short biography of
Lynch, the Clare grammarian, and was not aware that he
had ever been in Belfast. He assumed that Bunting's
Lynch was an entirely different person. On examining and
comparing liandwriting, his belief was somewhat shaken,
as the script of Lynch in the Bunting papers bore a decided
resemblance to that of the Clareman. Moreover, Mr Casaide
allowed that there were a few years of the life of his Lynch
which he could not account for, and which might have
been occupied by his residence in Belfast and County Down.
On looking through the Irish poetry taken down by Lynch
PREFACE
in Connanglit, his opinion again cbaaged and he asserted
that the words were spelled to represent the Northern
pronunciation of Irish, and that no Clareman that ever
was born or schooled, could have spelt like that So
there the mystery remains unsolved, and perhaps I have
err«d in naming Lynch " The Fentaglot Preceptor." There
may have been two men, where I, with Sr Orattan Flood's
assistance, have given an acconnt of one. In any case he
stands forth in these pages a typical preceptor of the gay
old times, when schoolmasters were itinerants like the
harpers, ere ever a National Board had arisen to cabin
and confine them behind the doors of school-honses.
For information on different points I am indebted to
Mr Isaac Ward of Belfast (an inveterate reader of old
newspapers, and great authority on all connected with the
history of the city), Dr the Et. Hon. Michael Cox, P.C.,
Sir William Whitla, Mrs Chambers Bnnten, Miss Lucy
Broadwocd, Sir Charles Brett, and above all to Dr Louis
MacRory and Sir Thomas and lady Deane for prompt
response to all questionings.
The time is ripe to recall Bunting's labour and claim for
him a full meed of fame. The subject of national folk
music has been recognised as of much importance by the
school boards of England and Wales. In the United States,
which I visited recently, a mingling of races, makes possible
a comparative study of the folk-song of many nations, and
I found interest on the subject keen, and many educational
agencies at work in this sphere. In New York that most
cosmopolitan of cities, Dr Leipziger, superintendent of the
lecturing department of the public schools, is full of interest
in the subject, and it is kept prominently before the public.
Where the world's folk music is studied and compared,
that of Ireland is assured of due attention, and the Irish
population in the United States will have reason to boast of
their heritage.
PREFACE
In conclusion let me say that the dedication of this
volume to Lord Shaftesbury, is in keeping with its aim
and purpose, for his Irish kindred come into the story. It
was to a Lady Donegall that Moore dedicated his melodies ;
and Lord Belfast (Lord Shaftesbury's own grandfather)
encouraged and aasiBted Bunting in his final enterprise,
and brought bis work before the notice of Queen Victoria
and the Prince Consort. The next Lord Belfast was
intensely musical, had talent as a composer and supported
the Belfast Anacreonotic Society, which had good reason
to deplore his early death, and honoured his memory by
a requiem concert. His nephew to whom this volume
19 dedicated, sustains these musical traditions, has done
much for the Belfast Philharmonic Society, the Irish Folk
Society, and occasionally appears as a vocalist on a concert
platform. He has, moreover, held the office of Lord Mayor
of Belfast, thus strengthening his connection with the city
whose musical history is recorded here.
CHAELOTTE MILLIGAN FOX.
Bklpabt, SepUmbar 1911.
CONTEHTS
. TH> KASP IN ANCIENT IKEL4ND .
' im. comufpoiuKr
nt. THE LUT
' ARTHUH o'NKILIr— INTRODUOTOKT
■ BUNTDfa oouxcnoH
rOBUCATlON .
Aim ApnuouTioN
LIST OF PORTRAITS
BuNTiKa Frmttitjnece
Wraa, ■ dipunwitjp* Id tht potHuLoD of Dr Loufa HtcBlrrf -
IVsiioaH O'CABOuiit Tofaeepag* £4
rnm u old ingnTlDg.
Dnm HsMnotf ,,110
Fmn am old fiiptTtBR.
Cbanm Bvbne, aqbd 92 ,,130
8k«tcli«l br HIB O'IMllT or Sum, lUb lii(ut 181*.
AxTHim O'Nbill ,,140
rroB *D old mcnTliig br T. Batth, Balllut.
Dr Janh HaoDonkeu „ 274
rraa 1 phaUgnph of ■ but mow fa thi Hnalclpal Art Coll«ti«, BtltUt.
ANNALS OF THE IRISH HARPERS
/y CHAPTER I
KDWABD BUBTIKG — AN INTBODDCTOKT MEMOIR
Thbbe is an old Irish street ballad to an air dow known ae
the "Wearing of the Green," which commences with the
rythmical annonncement :
" Oh, PU go down unto Belfast to see that seaport gaj,"
and with this we may fitly begin our record, for before
bringit^ on the stage of description onr dramatie peraoTug,
it will be well to realise the scene in which they are to
move. This is all the more necessai^ when the scene is
mainly in Belfast of a centuiy ago, for there is no place in
Ireland that has changed more than that city which boasts
itself the commercial capital of Ireland, and counts its
population by hundreds of thousands.
In this Ireland of decaying towns and cities and
dwindling population, the growth of Belfast seems indeed
a marvel, and, turning back the pages of histoiy, the
contrast is heightened, for we hud it to have been a place
of little importance.
To the head of a deep inlet of the sea, which opens into
the North Channel, directly facing the entrance to the
Scottish Clyde, the Biver Lagan flows down from the
interior of Ulster. Kear that river mouth there was in
I A
ANNAI^ OF THE IRISH HAItPEES
ancient timeB a fordable place. Thie was Beulfearsaide,
the ford, important as a passage from one known centre of
habitation to another. Carrickfergus, a few miles off on
the northern shore of the Longh, got its name in legendaiy
times, and was one of the keys of Ireland held b^ the early
Nonnan invaders. Bangor, on the southern side, at the
gate of the sea, was in the seventh century the site of the
most famous of Irish ecclesiastical schools, sending out
Christian missiouaries to France and Switzerland and
Northern Italy. With their Gospel books, they carried
also the Irish book of Church Song that remains to this
day the treasure of a European library.
The invading Norsemen blotted out the glory of Bangor
in fire and blood, and ultimately their kinsmen, the
Normans, planted their strong castles on the coast of Down.
Beulfearsaide retained its importance as a place of passc^
for riders between the towers of Carrick and the Ards of
Down. Sometimes it was in the keep of the native Irish.
Edmnnd Spenser in his view of Ireland mentions it among
northern places which had been anglicised, but had fallen
away to be "one of the most out-bound and abandoned
places in the English Pale, and, indeed, not counted of the
English Pale at alL"
The foundation of its present greatness was, however,
laid ultimately in the reign of James I., after the passing
over-sea of the great Chieftains of the Gael, when Sir
Arthur Chichester took in hand the business of the Planta-
tion of Ulster. Yon may see his tomb and read his epitaph
in the Church of St Nicholas at Carrickfergns. He may
take his place in history, as the founder of that Belfast,
which nowadays stands for the continuance of English rule
and speaks in the name of that Ulster, which would still
fain be considered a plantation. The connection with his
family is perpetuated in the names of many of the streets —
Donegal Street, Denial Square, Doo^al Place, Chichester
2
EDWARD BUNTING— INTRODUCTORY MEMOIR
Street, Arthnr Street. He bad laid firm band and bolding
OD Donegal after tbe passing of the brothers of Red Hugh
CDonnell, and the family took title from that territory.
StiaDgely enough certain members of the Don^l family
come in at the end of this story of tbe preserving of the
treasnres of the Irish bards and harpers, as extending
encouragement and help to those engE^ed in the work.
The benign images of a Lady Donegal, who was the best
friend of Moore, and of Lord Belfast, who encour^ed the
last labours of Bunting, are some set off against tbe grim
masterful figure of Chichester, who swept Ulster of her
bard-protecting, native chieftains.
Here, then, at Belfast was the chief part of that great
plantation, and tbe inhabitants from the outset displayed
certain qualities of thrift and independence that mark them
to this day. In Oliver Cromwell's time its Fresbytery
indeed displayed too much independence for the liking of
that man of blood and iron, and by his command his
secretary, John Milton, thundered at them in language of
sternest invective aa having "the appearance of a co-interest,
and partaking with the Irish rebels," and being no better
than "a generation of Highland thieves and redshanks."
In this latter phrase he points at the Scotch origin of so
many of the Presbyters, and maybe had in mind Spenser's
erudite disquisition on the racial ties of the Albans and
Scythians, and his conclusion to the effect that " Scotland
and Ireland are all one."
In 1690, on the 14th June, Dutch William, landing at
Carrickfergns, was met by General Schombei^ and accom-
panied by him to Belfast, where he lodged at the Castle,
and stayed from Saturday till the following Thursday. He
spent his time in receiving addresses and reviewing his
army, preparatory to his march south, to his victoiy of
the Boyne.
This was a great event for Belfast, and quite in keeping
ANNALS OF THE IRISH HAEPEES
with the tradifdoQ of Ghichester'a foimdatioii and the spirit
of the city we know to-day. In fact, Belfast would seem
to have not yet recovered its eqnilibiium, and the figure of
William of Orange still stands out as of supreme import-
ance, oTershadowing the repute and popularity of living
sovereign or popular politician. In every Protestant work-
ing-mao's dwelling you will see his image in crockery, or
on the walls in a showy picture. When the 12th of July
comes round hundreds of pictures of King William are
lifted to the breeze on the great banners of the Orange
lodges. There yon will see him on his white, prancing
horse, pointing his sword towards the smoke of James's
guns, and to the stirring notes of " The Boyne Water," that
great victory is recalled.
One might easily imagine that this has been going on
ever since William and Schombei^ rode southward along
the Dnblin road ; bat in the interveniog eighteenth century
there was a time when Belfast would have deserved
Spenser's lament concerning its retrogression from the
English Pale, and when Milton might again have taunted
its people with their kinship to the Highlanders.
Mention of the July procession brings ns to this moment
of history, and to the dramatic opening of narrative, which
is onr immediate concern.
It is 11th July 1792. There are bands, banners, and
marching men. Amid popular enthusiasm a procession
winds its course along the High Street, going by one bank
of the river, which flows seaward between the houses, and
returning by another. There is a review in a field on the
Falls Road, a convention, and, finally, a banquet. This is,
in abort, a master of the Irish volunteers, who have already
made histoi?. The occasion of their assembly is to celebrate
the fall of the Bastille, and declare themselves in favour of
Catholic Emancipation and the Sights of Man.
Side by side with this political demonstration there was
4
EDWABD BUNTING— INTEODUOTOEY MEMOIR
ptoceeding, what wonld be called nowadays a /«u eeoil or
musical festival, a gathering of the Irish harpers, the
successors of the ancient barda of the Gaaldom. What a
strange contrast is afibrded here, between the politicians of
the new era, fired with the principles of the French Bevola-
tioD, and the miiBicians mostly aged and blind assembled in
the Exchange Eooms, who waited for the sound of the drums
and the cheering to pass into the distance, ere the; wakened
the clear sweet music of their harps. Before we come to
describe the festival in which tbey shared, it will be well
to say something briefly and then dismiss the political
celebration.
On this occasion of action and oratory, a leading part is
taken by a keen-faced young man from Dublin, Wolfe
Tone, who is proud to wear the uniform of the Belfast
Company. He has left in his vivacious diary a vivid
account of the proceedings and of the persons concerned.
He held ofBce as secretary of the association formed by the
Irish Catholics to further their own emancipation. A
Protestant himself, he was exerting all his powers to win
the Protestants of Belfast to make a strong pronouncement
at die convention in favour of the Catholic claims. He
was opposed on thia occasion by certain important men,
chief of whom was Mr Henry Joy, who advocated caution
and gradual reform, A great suspicion and curiosity was
excited by the fact that he had driven into the town, with a
gentleman from the College in Dublin, whom nobody knew.
This was no other than his great friend, Whitley Stokes, a
Fellow of Trinity Collie, a cultivated scholar and dis*
tingnished scientist. The Belfast moderates feared that he
had been brought to exercise undue influence in the conven-
tion, and to allay these suspicions Wolfe Tone diverted bis
attention to the musical festival, and put him in the hands of
the man who was the guiding spirit thereof, that is, Dr James
MacDonnelL Tone himself took a look in at the old harpers,
6
ANNALS OF THE IRISH HARPERS
bat writes of their efforts with impatieoce and only acknow-
ledges three of the performers to be good.
It remains an undecided question, whether the political
situation or the musical festival had brought Whitley Stokes
to Belfast, probably the former was the reason, the latter the
ezcase, till Tone found that the Belfast men resented the
presence of this outsider. Then agaia he was a United Irish-
man, but not in favour of revolution ; and though Tone may
have brought him with a view to his assisting in leading the
moderates forward, his influence might have tended to hold
the extremists back. Anyhow, he was left out of the political
councils ; and if he expressed his views at all on the burning
questions of the day, it was in the course of argument and
conversation at the dinners aad festivities to which he was
invited. Perhaps it was just this personal influence that
Tone had counted on, for he himself had felt it, and in
bis analysis of the characters of his friends, places Stokes as
coming nearest to his own views, save in the matter of
revolution.
"He is an enthusiast in hia nature," writes Tone, "but
what he would highly, that would he holily. In the full
force of the phrase I look upon Whitley Stokes as the very
best man I have ever known."
Stokes, it may be added, left the United Irish body
in this year, when it began to advocate physical force.
Dr James MacDonnell, who must be regarded as the
moving spirit in the matter of the harp festival, was
without doubt one of the most public spirited men associ-
ated with Belfast at any period of its history. Later in this
book will be found an appreciation of his services in the
sphere of medical practice and of scientific research. In
politics he was liberal, and had spoken in favour of Catholic
emancipation, avowing that though a Protestant himself, he
had many Catholic kindred. He was never, however,
6
EDWARD BUNTING— INTEODUCTOKT MEMOIR
eotaDgled in the United Irish oonapincy, though Wolfe
Tooe seema to have Bought after him, and dubba him in
his diary " The Hypocrite," not signifyiDg that he fell short
of his pmfeaaions, but that he wbs a better NatioQalist than
he would allow himself to be considered.
Thomaa Bussell, Tone's intimate friend and associate, was
for some time resident in Dr MacDonnell's house, and co-
operated with him in collecting geological specimens and
fossils, making the nucleus of the present Belfast Museum in
College Square (where by the way there is a fine marble host
of the doctor).
Amid all this intimacy with the Belfast Bepablicans,
MacDonnell remained unattached. It was perhaps to pro-
vide himself with a separate sphere of action on the occasion
of " The Fall of the Bastille " celebration and convention,
that he set about organising the harper's festival along
with Heniy Joy aod Robert Bradshaw. A present day
parallel will be found in the Qaelic feativals held all over
Ireland in the summer mooths, to which persons of every
political creed are invited, but which serve to stir the
deep well springs of national seutiment.
Dr MacDoonell conld boast himself a Northern Gael of
most illustrious line. He was born at Glenarrif, in County
Antrim, where his father Michael, snmamed Roe MacDonuell,
had some property, remaining from greater estates. Michael
was son of Alexander, son of Coil a Voulin (of the Mill), bo
named because on hia land in the Antrim Glens he used
water mills, where humbler folk still ground at the quern.
Going beyond Coll a Voulin, to bis father, Sir Alexander
MacDonnell, we step across the Irish Channel to the Scottish
Isles, and into an era that makes blood-stained pages in
history. In short, the great-grandfather of our gentle
Belfast doctor was that tremendous personage. Sir Alactair
MacColkitto MacDonnell, who figured in the rising of
MoDtroee in Scotland and in the wars of Owen Roe in Ireland.
7
ANNALS OF THE IRISH HARPERS
We dare not tarry to describe his great deeds here, nor
to speak of Ms father before him, the Colkitto, from whom
he derived his patronymic and with whom be is often
confused. English writers, not understanding the Gtaelic
system of naming, often alluded to Alastair sa Colkitto,
or even as Mr Kitto or Colonel Kitto. These confusions
are likely what led Milton to demand in bis sonnet on
Tetrachordon, whether that name was,
"harder Sirs than Qoidon
Colkitto, oc MacDoimeU or Qalaap,
Thoae rugged names to our mouths grow sleek
That would have made Quintillian stare and gasp."
Michael MacDonnell of the Antrim Gless had somewhat
declined from the position of his father and grandfather, yet
retained all the Graelic pride of birth, and counted kindred
with the Earl of Antrim, his neighbour at Glenarm. To bis
house in Glenarrif came a blind youth, then going his first
itinerary of Ireland as a harper in some year of the seventeen
seventies.
This was Arthur O'Neill, ckneman of the noble family
that had once reigned in Tyrone. Michael MacDonnell
gave hospitable welcome to the blind harper, and made him
tarry in the glens to teach his three sons the art of playing
on this instrument What he thought of his pupils will be
found in the chronicle of hie life-story. Much as they loved
music, the young men had other tastes, and had not patience
to become expert ; but as the years passed by, and when Br
MacDonnell, having graduated at Edinburgh, was settled in
Belfast as a doctor and heard the stir of preparation tor the
Bastille celebrations, his mind went back to the blind harp-
player at Glenarrit He thought of the Highland festivals
he had heard of in Scotland, and of the attempts which had
been made to imitate them in the Granard harp gatherings.
A fund was started, a circular sent out, subscribers found.
EDWARD BUNTING— INTEODUCTOKY MEMOIR
and then an advertisement was put in the Bdfa^ Nevaktter
aummoning the harpera of Ireland to assemble and compete.
Arthur O'Neill, who was still on his wanderings, was
laid np in the hoase of one of his friends after a severe
wetting. Being disinclined to play by reason of rheumatic
fingers, he bad the newspaper read to him, and so came
to hear the advertisement.
So came it that master and music-pnpil met again.
Nine other barpera were there, including those he bad
competed with again and again at the Qranard competi-
tions ; but on this occasion, more than transient pleasure,
or the excitement of a trial of skill was in view. As the
harpers played, a yonng man, just nineteen years of age —
blue-eyed with Irish complexion and brown wavy hair —
was called forward and requested to transcribe the airs, as
accurately aa possible, and without any attempt to modernise
or modify any peculiarities of the strains. The music was
to be studied and recorded from the point of view of the
antiquary eager to preserve a heritage of melody that had
been handed down from one generation to another for
centuries.
Wbilat Dr MacDonnell, organiser of the festival, issued
these commands, they were faithfully obeyed by the young
musician and scribe, who bore the name of Edward Bunting.
OBAPTER II
KDWABD BUNTraa — AM IKTEODtJOTOBT MUJOEtt— ((WrftftWCd)
Edwabd Buktino, according to tbe account given by him-
self, first drew breath in the city of Armagh about 1773,
his brother Anthony, who ia frequently meutioued in this
record, having been born in 1765. There was a third
biother, John, about whom little is kDown, and all three
grew up to be organists and cultured musicians.
Tbe father was a mining engineer, who came from
Shottle in Derbyshire, to assist at the opening of coal
mines at Coal Island, Ca Tyrone. Dr Grattan Flood has
pointed out that several families of tbe name of Bunting
had been settled in the neighbourhood of Longh ' Neagh
since the seventeenth century around Ballinderry.
He would like to have us believe, that Buoting had on
his father's side a connection of some generations with
Ireland; but tbe family records do not bear this out. It
is quite likely, however, that Engineer Banting may have
heard of the opening of these Tyrone mines through
kinsfolk already planted in Ireland. On the mother's side
Bunting traced his descent to a pure Gaelic source, as she
was a descendant of one Patrick Gruana O'Quinn, who had
fallen in tbe great Irish rising of 1642. In his notes and
writings he refers to haviug in boyhood heard the country-
folk of County Armagh crying over the dead. We may
almost certainly assume that he had mixed with his mother's
Iriab kindred and heard the Caoine in the house of mourning.
10
EDWABB BUNTING— INTRODUCTOBT MEMOIE
His taste for the native muBic he was accustomed to
aacribe to his Irish descent, bat in Armagh he was most
fortunately situated for its cultivation.
The Primatial Cathedral of Ireland has been, from the
time of its foundation to out own day, a training place for
musiciaDS. Here the three Buntuig boys were trained by
Barnes, then oi^anist there; and Anthony, the eldest,
qualified to become an oi^auist, and secured a position
in Drogfaeda.
It has beeu suggested that little Edward must have gone
to Belfast in response to an adveTtisement which appeared
in the Bdfaat NmsUtter, 11th September 1781, as follows: —
" Wanted an Apprentice from the age of nine to twelve
by William Ware Organist of St Anne's Church Belfast.
A fee is required. No oue need apply who cannot be well
recommended and who has not a taste for the Musical
The advertisement may indeed have caught the attention
of the friends and guardians of the boy, and they may have
got into communication with Mr Ware, bat his going to
Belfast was deferred till his eleventh year.
Our authority is an article which appeared in the Dvblin
University Magaxine, written by an intimate friend, and
whilst his brother and wife were living in Dublin in 1847.
The writer says : ^
" At a very early age he had the misfortune to lose his
father, who led him unprovided for ; and at the aga of nine,
having already shown a decided predilection for music, he was
removed to Drogheda, where his eldest brother Anthony,
an estimable gentleman and citizen of Dublin who yet
survives him, was then located as a music teacher and
o^nist. Here he remained for two years daring which
he received musical iastraction from his brother and made
such progress in his art, that his fame spread to Belfast,
'Patri*.
11
ANNALS OF THE IBISH HAEPEES
whither at the age of elevea, he proceeded at the invitation
of Mr Weir (Ware) the organiBt of the Church there, to
take hia place at the instrument while that gentleman made
a visit to London. It was very soon discovered at Belfast
that the boy substitute was a better Organist thao his
employer and Mr Weir was glad to aectue hia services as
assistant by articles for a limited number of years. While
thus engaged he had in addition to his duties as assistant
or sub-o^aniat to the Church, to act also as deputy teacher
to Mr Weir'a pupils on the pianoforte throughout the
neighbouring country, and the zeal of the young master to
fulfil his duties were often productive of the most ludicrous
results, for his young lady pupils who were often many
years older than himself were accustomed to take his
reproofs with anything but an angelic temper, and we have
henrd him tell how a Miss Stewart of Welmot in the
County of Down, was bo astonished at bis audacity that
she indignantly turned round upon him and well boxed
his ears.
To this account it may be added that the organ was a
comparative novelty in Belfast, and that in the Parish
Church of St Anne's, where Ware was organist, was, as yet,
the only one.
From a Newdttter't advertisement we learn Ware's terms
of tuition to have been :
"For harpsichord, a guinea entrance, and half-a-guinea
the twelve lessons ; guitar, half-a-guinea entrance, half-a-
guinea the twelve lessons."
It was part of the duty of the mnsic teacher to tune the
instrument, and Mr Ware's tuning-key is still preserved
in Belfast. Bunting became efBcient, not only at tuning,
but actually at repairing and constructing pianos. The
mechanical skill, inherited from the engineering father,
showed itself in the two musical sons, and there is a
reference, in one of Bunting's letters to a daughter, to his
12
EDWARD BtJNTING— INTEODTJCTORY MEMOIR
brother Antiiony and tumaelf working at nuking the instrn-
ments. In the correspondence with Mr John M'Cracken in
1802 (tee p. 232), it would seem that Bunting dealt in pianoa
for the firm of Broadwood, aa there is a reference to his collect-
ing money, and paying them a business visit, Anthony
Banting, both in Drogheda and Dublin, acted as agent for
Messrs Broadwood through a long term of years.
The same Di^Hn Univeraity writer states, that on
arriving at Belfast, the boy went to live with the family of
Mr John M'Cracken, a prosperous merchant and shipowner,
resident in Donegal Street, near to the Pariah Church. Mr
M'Cracken's wife had been a Mies Joy, and we hear of four
sons and two daughters, of these John M'Cracken, junior,
and Mary are moat intimately associated with the life of
Bunting. The other brothers were William and Frank
and Henry Joy. The second sister was called Margaret.
Bunting's note-books give evidence of the fact that they
were musical and lovers of folk-song, for we find airs
jotted down as "Mr John M'Cracken's tune," "William
M'Cracken's tune," and a manuscript psalm tune book bears
the ioscriptioD, " Mary M'Cracken, her book, Donegal Street,
BelfasL" In addition to psalm tunea, it contains a copy of
the beautiful Irish air, "Ceon dubh Dilis." The brothers
and Mary were deeply involved in the political plots of the
day; but it will be seen that Bunting differed from the
views of hia friends on political matters, though in a time
of danger and sorrow he was found to be trustworthy
and conrageoua when others failed who had made louder
profeesions.
We must assume that his general education was in some
way attended to whilst he resided with the M'Crackens, for
he showed himself a highly-cultivated man, with critical
literary tastes, yet our Dublin University writer tells us
that he ran in danger of the usual fate of an over-flattered
genius.
13
AHNAI^ OF THE IRISH HABPESS
"After a few years spent in this manner," he writes,
" he became a professor on bis own account and his abilities
as a performer had become developed, his company was
courted by the higher class of the Belfast Citizeas, as well
as by the gentry of its neigbboarhood and in short the
boy prodigy became an idol among them. Bat need we
say tbat this was a most perilons position for a young man
subject to no control, imperfectly educated, with social spirit
and high animal spirits, obtaining with ease sufGcient means
to supply bis wants and without any higher objects of
ambition to gratify them than tbat which he had already
compassed. Or should we wonder that courted, caressed,
flattered and humoured as he was, he should bare paid the
usual penalty for such pampering, that his temper should
have become pettish and his habits wayward and idle.
Such indeed is too commonly the fate of young mnsicians
precociously gifted with extraordinary powers and who
falling into premature habits of incurable dissipation, have
seldom realised in after life the promise their early talents
had given. It was happily not so with Bunting. Wayward
and pettish he remained through life, and for a long period
at least, occasionally idle and we fear dissipated, for hard
drinking was the habit of the Belfastians in those days ;
but while still young, not more than nineteen, an event
occurred which gave his ardent and excitable temperament \
a worthy object of ambition on which to employ it and
which necessarily required a cultivation of his poweiB to
enable him to effect it. The event we allude to was the
assemblage in Belfast in 1792 of the harpers from all parte
of Ireland, the aged and feeble Minstrels, who had given
pleasure in a state society now rapidly undergoing a nulical
change."
So far we have quoted from one who enjoyed his intimacy
at the end of life, and what he tells us is corroborated by the
diary of Wolfe Tone, which throws so much light on the
social as well as the political life of Belfast at that era.
From his pen we get a glimpse of Bunting in the year
previouB to the Harp Festival, and though only a youth
14
EDWABD BUNTING— INTRODUCTORY MEMOIR
of eighteen we meet him at a club with men of the world,
and arguing politics at a men's dinner-party. In October
1791 Tone came np to Belfast on a special political mission,
and stayed with his friend, Thomas Buasell, meeting all the
leading mtm of the town and neighboarhood. Their political
doings do not concern us, but there was much entertaining,
and after each night's proceedings Tone notes late hours,
much political argument and wine. Here is his description
of his Sunday (23rd October, 1191).
"Dinner at A. Stewart's with a parcel of Squires of
County Down. Foxhunting, hare hunting, buck hunting and
farming. No bugs in the northern potatoes ; not even known
by name, etc A farm at a smart rent always better cultivated
than are at a low rent ; Probable tTtough. Went at nine to the
Washington club. Argument between Bunting and Boyd of
Ballicastle. Boyd pleasant. (S.B. perhaps Bunting was the
opposite). Persuaded myself and P.P. (i.e. Russell) that we
were hunfrry. Went to the Donegal Arms and supped on
lobsters. Drunk. Very ill natured to P.P. Mem. To do so
no more."
Oq 25th October he records a dinner at Mr M'Tier's, and
" a furious battle on the Catholic question which lasted two
hoars."
" Bruce an intolerant high priest declared . . . that thirty-
nine out of forty Protestants would be found, whenever the
question came forward to be adverse to the liberation of the
Roman Catholics. ... It may be he was right, but God
is above all. Sad nonsense about scavengers becoming
members of Parliament, and great asperity against the
new fangled doctrine of the Bijihts of Man. Broke up
rather ill-displeased towards each other. More and more
convinced of the absurdity of arguing over wina"
In this after-dinner debate be notes " almost all the
company agreed with Dr Bruce except Russell, M'Tier,
X6
ANNALS OF THE IRISH HAKPEKS
Qettj and myself. Against ns Brace, Canningham, Grey
Holmes, Bunting and H. Joy."
It will be noticed that no member of the M'Cracken
family with whom the boy Bunting resided was preseot at
this dinner, and strange to say we do not meet the name
of any one of the brothers in connection with these festive
events. Kor are they mentioned as taking any lead in
political discussions, eiUier in private or at the Convendon of
1793. Later on, when the day of danger and action arrives,
tiiey are found in the front.
Enough has been said to give an idea of the society and
the influences by which Bunting was surrounded, when, aa
Petrie writes, the assembly of the harpers roused hia
enthusiasm and gave him an uplifting aim in life.
In a circular printed before the issue of his third volume
in 1840 he refers to this event and possibly in the opening
sentences, to the ambitions awakened by converse between
Wbitely Slokes and Br MacDonnell which he was privileged
to hear. The letters of the latter towards the end of the
book exhibit him as urging Bunting on to tremendous
efforts, almost too great for his enfeebled age, and we can
gather thence what must have been his attitude of mentor to
the talented but somewhat spoiled youth. We now quote
from the circular:
"The hope of being enabled, by reviving the National
Music, to place himself in the same rank with those worthy
Irishmen whose labours have from time to time sustained
the reputation of the conntry for a native literature, had
the Editor admits, no inconsiderable share in determining
him on making the study and preservation of our Irish
melodies the main business of his long Ufe, and he is free
to confess, the same hope still animates him in giving these,
the last of his labours, to the public. But what at flrst incited
him to this pursuit and what has chiefly kept alive the ardour
with which for nearly fifty years, he has prosecuted it, was and
is, a strong, innate love for these delightful strains for their
16
EDWARD BUNTING— INTEODUCTORT MEMOIR
own Bake, a love for them, which neither the experience of
the best music of other countries, nor the control of a vitiated
public taste, nor the iDfluence of declining yo&TB, has ever
been able to alter or diminish.
"The occasion which first confirmed the Editor in this
partiality for the airs of his native country, was the great
meeting of the Harpers of Belfast in the year 1792. Before
this time there had been several similar meetings at Granard
in the County of Longford, which had excited a surprisiug
d^ree of iuterest in Irish music through that part of the
country. The meeting in Belfast was however better
attended than any that had yet taken place and its effects
were more pennaQeut, for it kindled an enthusiasm throngh-
out the North, which still burns bright in some honest
hearts. All the beat of the old class of harpers — a race of men
then nearly extiuct and now gone for ever, Denis Hempson,
Arthur O'Neill, Charles Fanning and seven others, the least
able of whom has not left his like behind, were present.
HempsoD, who realised the antique picture drawn by
Cambrensis and Galelei for he played with long crooked
nails and in his performance ' the tinkling of the small wires
under the deep tones of the bass was peculiarly thrilling,
took the attention of the Editor with a degree of interest
which he can never foi^et.
"He was the only one who played the very old the
aboriginal music of the country, and this he did in a style
of such finished excellence as persuaded the Editor that the
praises of the old Irish harp in Cambrensis, Fuller and others,
instead of being as the detractors of the country are fond of
asserting, ill-considered and indiscriminate, were in reality no
more than a just tribute to that admirable instrument and
its then professora.
" But more than anything else, the conversation of
Arthur O'Neill, who though not so absolute a Harper as
Hempson, was more of a man of the world and had
travelled in his calling over all parts of Ireland, won and
delighted him. All that the genius of later poets and
romance writers haa feigned of the wandering minstrel was
realised in this man. There was no house of note in the
North of Ireland as far as Meath on the one hand and Sligo
17 B
ANNALS OF THE IRISH HARPERS
on the other in which he was not well known and eagerly
aonght after.
" Carolan had been his immediate predeceseor, and those
who have taken any interest in the life of the elder minstrel
will readily rect^nise the names of Charles O'Conor of
Beloagare, Tohy Peyton of Liaduff, James GriTin of
Streamstown, Mrs Crofton of Longford, Con O'Donnell of
Larkfield, Sqaire Jones of Moneyglass; not to detain the
reader with a longer enumeration all of whom are to be
fonad in the list of O'Neill's friends and entertainers. He
had also when a youth been through the South where bis
principal patron was the famous Murtagb O'SulUvan at
Bearbaven, a man who led quite the life of an old Irish
chieftain, and whose memory is still vividly preserved in
the lays and traditions of the County Cork. O'Neill was
of the great Tyrone family and prided himself on his descent,
and on supporting to some extent the character of a gentle-
man Harper. Although blind from his youth he possessed
a singular capacity for the observation of men and manners.
He had been the intimate friend of Acland Kane who played
before the Pretender, the Pope and the King of Spain. He
himself had played on Brian Boron's harp strung for the
occasion, through the streets of Limerick, in the year 1760 ;
in a word he was a man whose conversation was enough
to enamour anyone of Irish music, much more, one so
enthusiastic in everything Irish as the Editor."
By reference to Arthur CNeill's autobiography, it will
be seen that Dr MacDonnell entertained all the harpers
to a banquet, and detained O'Neill himself for some days
as guest. During this time we may be sure Edward Bunting
was still in attendance noting down the airs. In some
instances the words of songs may have been taken down,
and we find amongst the manuscripts the Irish words of
" The Green Woods of Truagh," with this inscription " for Mr
W. Stokes." We have, however, no record of an attempt
to preserve Gaelic song words at this meeting, though that
bad been in view, and the Harper O'Neill had attempted
to bring with him a native Gaelic speaker, providing the
18
EDWARD BmmNG— INTEODUCTOBY MEMOIR
maa with suitable clothes tor the occasioD ; hut the poor
scholar so fancied his improved appearance, that he went
off to show himself to his friends and sever turned up in
Belfast
The collecting of Gaelic lyrics was anyhow deferred
to a later date, and attention concentrated on the harp
melodies.
For four years after the harper's festival, Bunting
devoted himself to the work of collecting airs, and in the
circular already quoted refers to his labours at this period.
"Animated by the countenance and assistance of several
townsmen of congenial taste and habits, of whom his
excellent friend, Dr James M'Donnell is now, alas, the only
survivor, and assisted to a great extent by O'Keill and the
other Harpers present on this memorable occasion, the
Editor immediately after the termination of the meeting,
commenced forming his first collection. For this purpose
he travelled into Derry and Tyrone, visiting Hempson,
after his return to Magilligan in the former county, and
spending a good part of the summer aboat Ballinascreen
and other mountain diatricte in the latter, where he obtained
a great number of admirable aire from the country people.
His principle acquisitions, however, were made in the
Province of Connaught, whither he was invited by the
celebrated Richard Kirwan of Creggs, the philosopher and
founder of the Royal Irish Academy, who was himself an
ardent admirer of the native Masic, and who was of such
influence in that part of the country, as procured the
Editor a ready opportunity of obtaining tunes from both
high and low. Having succeeded beyond his expectations,
he returned to Belfast, and in the year 1796 produced his
first Volome, containing sixty-six native Irish Airs never
before published."
The Society for promoting useful knowledge assisted the
pabtication by sabscribiDg a sum of money, which was, how-
ever, r^arded as a loan, and returned.
Thomas Russell, the intimate friend of Tone, a south
of Ireland man, who had come to Belfast with bis regiment,
19
■ ANNALS OF THE lEISH HAEPERS
had, OD retiiiDg from the army, taken the position of fint
librarian to this society. Hie intimacy with Dr MacDonnell
has been already mentioned, and his work in the connection
with starting the library was a labour of love. It was at
that time placed in rooms in Anne Street, and here he was
acooBtomed to have Irish lessons from a tutor (also a
southern) called Patrick Lynch,^ who had been imported
to Belfast to teach G-aelic as a sound basis for literary
research. Bussell doubtless considered a knowledge of it
as a necessary equipment for a librarian, who might have
to collect and care for Gaelic manuscripts.
He had not been present at the Harp Festival, and
passed through several changes of fortune in the interval
between 1791 and the appearance of Banting's collection
in 1796. To recapitulate these briefly. Through indiscreet
generosity to an undeserving friend he had got into debt,
and was obliged to part with his commission, obtaining
through the infiuence of the Knox family, a magistracy in
Dnngannon. This position he resigned from conscientious
motives, being unable to concur with his brother magistrates
in their method of deciding actions between Protestants and
Catholics. Returning to Belfast, he was the guest of Br
MacDonnell, who obtained for him, January 1794, the post
of librarian with a small salary. It was dnring this period
that he was enabled to show an active interest in Bunting's
projected work ; and in 1796 he was writing from a Dublin
prison, for in the autumn of that year, the Qovemment,
awakening to impending danger, made a swoop on the
Belfast centre of conspiracy, suppressed their newspaper. The
Iforlhem Star, and took its Editor, Samuel Neilson, into
captivity along with Henry and William M'Cracken, Bussell,
and many northern men, and among other Dubliners, Mr
Thomas Emmet
Bussell's letters from prison were addressed to a Belfast
* iMia on ooUootor of the word* tad mnKC in Oonnanght.
EDWAED BUNTING— INTEODUCTOET MEMOIR
friend, John Templeton, and contain many anxious enquiries
about the library abont matters of scientific research, and
in 1707 he writes :
" I am told that the Irish Music is finished. I have
no donbt that it will have great saccess and raise the repnta-
tioa of the collectors of the Institution which brought it
forward."
In 1800, writing still from prison in Fort Ueoi^,
Scotland, he writes;
" I enclose a tnne for my friend Buntii^ which I beg
you to give him ; it ia one I do not recollect him to have
had."
In 1802, when he was at length liberated and about
to seek a refuge in France, he finally wrote :
"Farewell, my dear friend. Give my kindest and
warmest r^rds to Miss Mary M'Cracken and all the
good family. Kemember me affectionately to Bunting. I
nave a copy of his music with me, and will do all I can to
introduce it to notice. You will best know to whom I
would be remembered. Assure them of my best r^ards."
This may have been an indirect message from those who
remained of his political friends, or to the lady for whom he
had cherished an attachment
We have passed over a pathetic scene connected with
the political events of that time, in which Edward Bunting
figured.
In 1796, Wolfe Tone with his family, came as a political
fagitiye to Belfast in order to embark there for America.
Thence he was destined to pass to France, to launch three
forces of invasion against Fkigland and finally to die in a
condemned cell.
Passing through Belfast, he waa entertained and cheered
by former friends who rallied around him. Many delightful
21
ANNALS OF THE IRISH HARPERS
ezctUHioDS were plaDDod, the last of which was on the 11th
Jane, to Barn's Island on Lough Neagh. On the retom of
the picnic party to Belfast there was a final gathering, for
it was now the eve of departure. Bussell, Neilaon, and the
M'Crackens were present, and Bunting, whose collection
was now well on the way to completion, was asked to
play.
He chose an appropriate air known as " The Parting of
Friends." It is recorded that the wife of Tone, thongh
nnuBed to the melting mood, was overcome with the pathos
of the music, and, bursting, into tears, left the room.
Had they had power to see into the future, the masic
chosen was singnlsily appropriate, for tragedy loomed darkly
over the future; for two there, the scaffold waited, for a
third, death in a condemned cell.
What was the air played hy Bunting is qnestionable.
That published with the title of " The Farting of Friends,"
though sweet and pathetic, lacks the poignant grief of
another with the same name, which lies buried in one of
the musical note-books. It is also given the title of " An
Cuman," or " The Bond," and there are Irish words for it;'
but among the manuscript poems there is only one quatrain
bearing the title of " The Parting of Friends or the Scatter-
ing of the Company." It would peculiarly apply to the
case of Tone, who had been courted in Belfast, then taken
note of as a conspirator, and, finally, was separating from
these conspirators with danger and death in prospect The
air has all the character of a Giaelic lamentation, and here
is literal Fk^lish for the Gaelic words.
" I bave been foi some time in tltia town, I have been greatly caressed,
That did not last long till notice was taken of me,
No two things on earth I account to be more grievous
Than the death of friends and tbe separating of companions."
* Pnbliihid bv Bailey Ferguson of Qlugow in Senga of Uu IriA Sarpen,
arranged bj C. HUIigui Fox.
CHAPTEB III
EDWAED BmrriKG — AH INTItODUCTORT MEMOIR — (cOTltimud)
In order to estimate the importance of Banting's first
collection, we most lecollect that nothing approaching
such a work had previonsly existed. In his own drcnlar,
somming up his life work and soliciting sapport for his
last publication, he dwells on this.
" Before this time there had been but three attempts of
this nature. One by Burke Thumoth in 1720, another by
Neill of Christ Churchyard soon after, and a third by
Carolan'a son, patronised by Dean Delaney about 1747.
In all these the arrangement was calculated rather for the
flute or violin than for a keyed instrument, bo that the
tunes were to a great extent deprived of their peculiar
character, and as they were deficient in arrangement, so
were they meagre in extent. On the whole, the Editor
may safely say that his publication, above alluded to, was
the first and only collection of genuine Irish harp music
given to the world up to the year 1796."
The book stands, therefore, as the earliest standard
authority on this department of study.
View it with regard to its after effect in popularising
and Baving Irish music, it must be classed as an epoch-
making book. Not that its circulation was very extensive,
for indeed it brought little profit to the young man who
gave it to the world.
A Dublin pirate-publisher speedily brought out a cheap
23
ANNALS OF THE IRISH HARPERS
edition, underselliDg Banting's h&If - guinea volume, thus
depriving him of a great part of his possible sale ; but the
object of the compiler and of his enthusiastic supporters in
Belfast was accomplished indirectly through the medium of
otheiB, who followed in Bunting's track and gleaned the
reward of his labours. In short, he gave the material and
inspiration to Moore for hia Irish melodies, which are known
and suog in every country of the civilised world.
Moore's first volume of melodies did not appear for
eleven years after Bunting's collection, but we have evidence
from himself that the book bad fallen into his hands very
shortly after its publication. One quotation will illustrate
tills, and the anecdote embodied in it has interest from the
fact tiiat it relates to the young Irish patriot, whose bagic
fate is alluded to in the exquisitely pathetic songs, "Oh,
breathe not his Name," and "She is far from the Land."
Thomas Moore was a student at Trinity College, Dublin,
at a time when Ireland was seething with the spirit of
insurrection. Even inside the sedate walls of the college
conspirators were meeting and whispering. What the
authorities considered a dangerous spirit was evident in
the speeches at the debating societies. Finally, there was
a visitation and investigation into this matter resulting in
the expulsion of certain students. Moore, who was called
before the visiting inquisitors, behaved with great firmness
and courage, and refused to answer questions calculated to
injure bis friends.
Chief of these was Robert Emmet, the younger brother
of Dr Thomas Emmet, one of the leading men of the United
Irish party, who was confined in prison along with Thomas
RusselL Concerning his memories of bis student days
Moore has written:
" Edward Hudson, an amateur fiute-player and a United
Irishman, first made known to me Banting's First Volume,
24
EDWAED BUNTING— INTBODUCTOKY MEMOIR
which I brought to my home in Angier Street." Also,
"Bobeit Emmet, daring those college days, used frequently
to sit by me at the pianoforte while I played over uie airs
from Banting's Irieh CoUectioD, and I remember one day,
when we were thus employed, his starting up as if from
a reverie while I played 'The Fox's Sleep,' exclaiming
passionately, 'Oh, tJiat I were at the head of twenty
thousand men marching to that air.'"
The air so mach admired by Emmet is that to which
Moore afterwards composed hia song, " Let Erin Kemember
the Days of Old." We may here incidentally remark that
the northern insurgents, marching in the summer of 1798
from the neighbourhood of Belfast to their defeat at Antrim,
tried to cheer their spirits with music ; and, though led by
Henry Joy M'Cracken, a member of the family with whom
Bunting had his home, they did not sing an old Irish air,
but in imitation of the French revolutioniBts tried to chant
"The Marseillaise" (whether in French or English we are not
told). However, the song la^ed to the slowness of a psalm
tune, and dwindled away. Then Jamie Hope, a weaver,
who was M'Cracken's chief lieutenant, started what he calls
a brisk Irish air, now known as "The Lass of Bichmond
Hill."
Musical matters had evidently been somewhat neglected
amongst the active conspirators, though the Belfast United
Irishmen, stimulated by the harp festival of 1792, had
adopted as their badge an Irish harp with this motto :
"It is new itrung and shall be heard."
In this connection, it is also interesting to recollect that
Wolfe Tone, when in France, whiled away the time, when
an army of invasion was being got ready, by jotting down
Irish airs for the band of his regiment to play, in case he
ever got so far as to have a regiment with a band.
To return to the subject of Moore, we have many
references in his diary and letters to his dependence oo
26
ANNALS OF THE IRISH HARPERS
BontiDg, He sometimes notes that be has spent a moming
trying over tunes ; and after a visit to Ireland writes back
to Dablin in urgent baste for bis volume of tbe ancient
music wbich he bad inadvertently left behind.
Fetrie, in the DuUvn Univernty Magazine article already
quoted, gives & very fair appreciation of tbe book, estimating
its influence on other composers.
" Of the excellence of the melodies in this first collection
of Bunting's, it is hardly possible to speak in terms too
high, there is hardly an air in it undistinguished for
beauty and character ; and as a whole it ta confessedly
superior in this particular to either of tbe more splendid
volumes which be afterwards produced. It baa now been
long out of print, and, too, generally forgotten; but the
majority of its airs have bmn made familiar to tbe world
by tbe genius of Moore, to whom it served as a treasury of
melody, as may be gathered from tbe fact that of the sixteen
beautiful airs in the first number of the Irish melodies, no
less than eleven were derived from this source. And yet
he did not exhaust its wealth. Lover, who came to it for
gems of melody after him, found there the exquisite air,
' M^, do you fancy me ? ' which be worthily mode known
as ' The Angel's Whisper,' and the air, ' I'll follow you over
tbe Mountains.' And there still remain in this store-house
of song unnoticed airs of a vocal character of equal beauty
to any that either Moore or Lover has extracted from it —
too intensely Irish, perhaps, in their structure for faebion-
ftble ears and taste, but not tiie less touching to Irish
feelings, and for wbicb only a poet of the highest powers
and musical sensibility could furnish appropriate words.
Such, for example, is tbe very first air in the collection, ' If
to a Foreign Clime I go,' which Bunting placed in that
prominent position from his intense admiration of it, and
wbich we know he considered as the most ancient and
characteristically Irish time in this collection."
It ia very true that the material for Irish musical com-
position was not exhausted by even such lavish borrowers
26
EDWARD BUNTING— INTBODUCTOKT MEMOIR
as Moore and Lover. The published voImneB csontain many
aira which are laiely heaid. Moreover, on searching through
the maDUScripts placed in her heaping by Bnnting'B descend-
ants, the present writer has found many airs of a veiy dis-
tinctive character which have never yet been published.
Some of these have appeared in the journal of the Irish
Polk-Song Society, as facsimiles from Bunting's note-book,
and have since tJien been arranged as songs and published
under the title of jSbn^s of the Irish ffarpers.
When we consider the immense circulation attained by
Moore's melodies, in spite of their association with Sir John
Stevenson's settings, we cannot help regretting that Bunting
and Moore had not met and arranged to collaborate. Petrie
is our authority for a supposition that Moore had made
advances to this end, but had been repelled.
" We have often heard it asserted, we will not, however,
vouch for the tmth of the atatemenl^ as we never heard it
corroborated by Bunting himself, that some time after the
publication of his first coUectioD, Mr Moore offered to
supply him with words for the finer vocal airs in his
possession, and that Bunting declined or selected to avail
himself of such assistance. But be that as it may, it is
certain that he deeply regretted when it was too late,
that he had not secured the aid of the great lyrist,
though it may be doubted that two instruments so differ-
ii^ in character would have mn together long in smooth
harmony."
A. spirit of reverence for old tradition, a desire to pre-
serve religioaBly the ancient music of Ireland as he received
it from the harpers, restrained and guided Bunting, who
worked as an antiquary as well as a musician. Moore
wonld have been impatient of such restraints, and never
scrupled to make the melody mould and mollify itself at
his pleasure. We need scarcely r^ret that the coUabora-
tioD never took place, as it would have been impoaaible
27
ANNALS OF THE IRISH HAEPEES
without compromiBe on one side or the other. It is, how-
ever, pleasing to note that towards the ends of their lives
the poet and musician paid homage to one another, and
that the hittemesB dae to comparative failure, the result
of Moore's rivalry, did not blind Bunting to the merits of
the iTrics, and he praised them in a way which grati&ed
Moore's heart
We quote from Moore's diary an expression of his feeling
on reading Bunting's praise. It contains a candid avowal of
the use he had made of the ancient music, and, in addition,
a most interestii^ account of the share he had in connection
with the settings.
"July 15iA, 1840. — Eeceived from Cramers & Co. a
copy of Bunting's newly-published collection of Irish Airs,
which they have often written to me about, as likely, they
thought, to furnish materials for a continuation of the
Melodies. Tried them over with some anxiety, as, had they
contained a sufficient number of beautiful airs to make
another volume, I should have felt myself bound to do the
best I could with them, though still tremblingly apprehen-
sive lest a failure should be the resalL
"Was rather relieved I confess on finding with the
exception of a few airs, which I have already made use
of, the whole volume is a mere imsb of trash.
" Considering the thorn I have been in poor Bunting's
side by supplanting him in the one great object of his life
(the connection of his name with the fame of Irish Music)
the temper in which he now speaks of my success (for some
years since he was rather term^ant on the subject) is not
a little creditable to his good nature and good seuse. Speak-
ing of the use I made of the first volume of aire published
by him he aays : ' They were soon adapted as vehicles for
the most beautiful popular songs that perhaps have ever
been composed by any lyric poet.' He complains strongly,
however, of the alterations made in the oiiginal airs, and
laments that 'the work of the Poet was accounted of so
paramount an mterest that the proper order of song writing
EDWARD BUKTING— INTRODUCTORY MEMOIR
was in luan^ iDBtancee inverted, and instead of the words
being adapted to the tnnee, the tune was too often adapted
to the words : a solecism which could never have happened
had the reputation of the writer not been so great as at once
to cany the tunes he designed to make use of, altogether
oat of tiieir old sphere among the simple tradition-loving
people of the Country with whom in truth many of the
new melodies to this day are hardly suspected to be
themselves.'
" He lays tJie blame " (Moore continues) " of all these altera-
tions upon Stevenson, but poor Sir John was entirely innocent
of them ; as the whole task of selecting the airs and in some
instances shaping them thus, in particular passages, to the
general sentiment, which the melody appeared to me to
express was undertaken solely by myself. Had I not
ventured on these very admissible liberties many of the
songs now most known and popular would have been still
sleeping with all their aathentic dross about them in Mr
Bunting's first Volume.
"The same charge is brought by bim respecting those
airs, which I took from the Second Volume of nis collection.
' The beauty of Mr Moore's words,' he says, ' in a great degree
atones for the violence done by the musical arranger to
many of the airs, which he has adopted.'"
These entries in Moore's journal are of profound interest,
not only as a plain avowal of indebtedness to Bunting, but
as casting a light on the fact, that he was himself accustomed
to give a hand in the matter of musical composition. How-
ever, we cannot believe for a minute that the Stevenson
fttrangementa bo elaborated and florid can have any
resemblance to the accompaniments, which Moore played
or improvised when he melted hearts and drew tears from
the eyes of his hearers in the most fashionable circles of
London Society.
This is borne out by a description left us by Willis, who,
in 1834, heard him sing at an after-dinner reception at Lady
Blessington's.
ANNALS OF THE IRISH HARPEBS
" M7 letter is gettinR long and I have no time to describe
bis singing. It is well-known, however, that its effect is
only equalled by the beauty of his own words and for one,
I could have taken him into my heart with delight. He
makes no attempt at music It is a kind of admirable
recitative in which every shade of thought is syllabled
and dwelt upon, and the sentiment of the song goes through
your blood, warming you to the very eyelids and starting
your team if you have a soul or sense in you. I have heard
of a woman's fainting at a song of Moore's, and if the burden
answered by chance, to a secret in the bosom of the listener,
I should think from its effect on so old a stager as myself,
that the heart would break with it. We all sat round the
piano and after one or two songs of Lady Blessington's choice,
he rambled over the keys awhile and sang, 'When first I
met thee' with a pathos that beggars description. When
Uie last word had faltered out, he rose, took Lady Blessington's
hand, said ' Gk}od-night,' and was gone before a word was
uttered. For a full minute after ne had closed the door
no one spoke. I could have wished myself to have dropped
silently asleep where I sat, with the tears in my eyes and
the softness upon my heart"
From this description, borne out by others that have
come down to as, we feel sure that Moore never marred
the beauty of the airs by the ornate quasi-Italian preludes
and movements of Stevenson, but that he improvised as he
went along, a chord here, a chord there, to emphasise a word
and assist interpretation, leaving the clear stream of melody
to flow on undistnrbed.
In bis journal of December 1826, we find an account of
Moore's collaboration with so famous a composer as Bishop.
" Bishop, having failed at giving my idea of the song for
the WaT'.dance, I played him a few bars when in town as my
notion of the sort of subject it ought to be. He took down
from the notes I played and when his new setting came,
I found he had exactly preserved them. The rest of the
composition not being at all what I liked I again suggested
30
EDWAED BTTNTING— INTRODUCTORY MEMOIR
a totallj different hannony as well as melody, and he verj
good hamouredlj adapted it almost note for note ; so that the
composition now, though under his name, is nearly as much
mine as anything I ever wrote."
In the same manner, without doubt, the poet handled
and altered the measure and melodies, of the old airs in
Bunting, improving them according to his own opinion, in
any caae, getting rid of their archiUc characteristics, which
had been so faithtolly preserved, and thus smoothing the
way for their world-wide popularity.
Bunting was of opinion tW the harpers had accnrately
transmitted the melodies from one generation to another,
but that iu the mouths of singers, unacquainted with the
county tradition, they had greatly altered. The achieve-
ments of Moore must have tended to confirm him in this
view, and, indeed, with our own experience of folk-song
collecting to judge from, we have to conclude that if Moore
erred in this matter he was not the first A great many
songs are to be found which are simply variants of some
one melody modified by alterations in the measure and
style, according to \he fancy of the poet who set words to
them.
It is pleasing, however, to find, that Bunting, who was
generally credited with having an embittered temper, should
have made the graceful acknowledgment of Moore's genius
which the poet thus quoted side by side with the condemna-
tion for altering the airs. Moore, iu spite of the adulation
which had been heaped on him since boyhood, was eager
tor universal appreciation and was evidently exceedingly
gratified by Bunting's pronouncement that he had vrritten
" the most beautiful popular songs that had ever been
composed by any lyric poet." He responded with an
outspoken acknowledgment of bis indebtedness to Banting's
patient research, which appeared in his preface to the fourth
31
ANNALS OF THE IBISH HABPEBS
volame of his collected works pabliahed in 1841 &s
follows : —
"There can be no doubt that to the zeal and indnatry of
Mr Bunting, his country is indebted for the preservation of
her own National Airs. During the prevalence of the penal
code the music of Ireland was made to share in the fate
of its people. Both were alike shut out from the pole of
civilized life; and seldom anywhere but in the huts of a
Sroscribfld race could the sweet voice of the songs of other
ays be heard."
It may here be noted by reference to the " Life of the
Blind Harper, Arthur O'Neill," that this description of the
minstrels sheltering in huts is inaccurate. The harp was, as
O'Neill himself calls it, a passport, which won entrance not
only to the homes of the remaining old families of Irish
race, but many of the newly-planted lords of land became
enthusiastic patrons of music, and we find amongst O'Neill's
entertainers Boyd of Ballycastle, and the ancester of Colonel
Saanderaon of Orange fame, whilst harp-loving Protestant
parsons are mentioned as well as Catholic priests — but to
come back to Moore, he writes after describing the Belfast
Harp Festival:
"It was in the year 1796 that this gentleman published
his &rst volume; and the national spirit and hope then
wakened in Ireland could not but insure a most cordial
reception for such a work, flattering as it was to the fond
dreams of Erin's early days, and containing in itself indeed
remarkable testimony to the truth of her claims to an early
date of civilisation. It was in the year 1797, that, through
the medium of Mr Bunting's book, I was first made
acquainted with the beauties of our native music. A young
friend of our family, Edward Hudson,' the nephew of an
eminent dentist of that name, who played with much taste
and feeling on the flute, and, unlucHly for himself, was but
^ Stt Tol. I. Iriik Falk-Song Soeitty'M JmtnuU for esMj on tb« Hndrcn
fiuuUy. ~- »
32
EDWAED BtnfTING— INTEODUCTOEY MEMOIR
too deeply warmed with the patriotic ardonr then kindling
around him, was the first who made known to me thia rich
mine of our country's luelodies — a mine, from the working
of which my humble labours as a pout, have since theD
derived their sole lustre and value."
In poetic phraae, addressing the harp of his country, he
had before this written in one of bis best known songa:
" If the pulse of the patriot, soldier, or lover
Has throbbed ta our lay — 'tis thy glory alone ;
1 waa but the wind passing heedlessly over
And all the wild sweetness I waked was thine own."
Moore's acknowledgment to Bunting came only two
years before the death of the latter, hat it must have
given him content at the end of hia days to think, that the
work of this rival, whoae success had overshadowed all his
efforts was declared by its author to owe its inspiration to
the harp music, which he had rescued from oblivion.
CHAPTER IV
IDWAHD BDNnua — AH INTBODDCTOEY HKHOIB — (continued)
The period between the publication of Banting's first and
second volumes was occupied in Ireland by stormy happen-
ings. In 1798 and in 1803 occurred unsuccessful revolu-
tions, in which his intimate friends were implicated. In the
earlier rising the efforts of the northern insurgents were con-
siderably hampered by the arrest of the leaders they had
chosen, and by the failure of others to fill the gap of danger. In
this crisis it was Henry Joy M'Gntcken who took the lead in
Belfast, and brought a little army to attack the town of Antrim.
His attempt ended in defeat and arrest. He was brought
to GarrickferguB prison, thence to Belfast, where he was tried
and executed. It is not in our domain to refer to these
tragic events, except in as far as they form the background
of the life of the musician, who lived and worked on, in the
midst of conspiracy and tumult. In the early years of the
nineteenth century we find Miss Mary M'Cracken actively
and ardently interested in his work, and she remained a
constant friend and adviser till the end of his life. She was
then a young woman about his own age, of very remarkable
character. No more striking and noble personality has
appeared in the annals of Ireland's later history. Her
virtues and talents are to be counted as all the more remark-
able in that she entered no sphere of life where they would
have competed for public recognition. She is not known as
an author, yet is deserving of the fame due to a historian.
When Dr Madden came to write the " History of the United
34
EDWARD BUKTIKG— INTKODUCTORT MEMOIR
IriahmeD," he found that her faithful heart had treasured
the memoTies of all that had happened. The story of the
north in those "dark and evil days" was related to him
mainly hy Miss M'Cracken, who knew all who bad foaght
and suffered, and who had been as a protecting angel to the
widows and orphans of those who had fallen.
When her brother was tried for his life, and no defence
seemed possible, overcoming her oatural timidity and
repressing her emotions, she rose in the Court, to the
astonishment of all, and pleaded his cause, not as a woman
crying for mercy, but in the calmly-reasoned speech of a
lawyer, pointing oat all possible weak places in the cose
for the prosecution. When sentence was pronounced, she
walked leaning on his arm to the foot of the scaffold, to
comfort him and sustain his courage, and only at his earnest
plea did she consent to leave before the last dread offices of
execution were performed. Even at that late moment she
had attempted to save him, and it is generally believed that
she had bribed the executioner. She had used powerful
influence to have the body delivered up to the family at the
earliest possible moment, and on receiving it they sent for
Dr MacDonnell to attempt every known method of resuscita-
tion. He sent in his stead bis brother Alexander, a qualified
sorgeon, but all bis efforts failed. In a brief time a small
funeral cortege bore the body towards St George's Charch-
yord in High Street No other of the relatives bad
sufficiently recovered from grief to accompany it, and
indeed the brothers were threatened with arrest Mary
walked along sustained by a kindly neighbour, till her
brother John, seeing that she was determined to be present
at the burial, hastened after the little procession and drew
her arm through his. Her indomitable courage sustained
her till the sods rattled down on the coffin, then she gave
way to natural grief.
Recently her brother's remains have been reverently
36
ANNALS OF THE IKI3H HAKPEBS
remored from that resting-place, and laid in her own grave
ia Old Clifton Cemetery,' so that after a hundred years we
can at length eay, " In death they are not divided."
In the dark years that followed, the strains of the old
Irish songs, softly played by Edward Bunting in the stricken
home in Dod^^ Street, mast have often touched and
soothed her sorrowing heart.
In 1802 we find Dr MacDonnell and M'Oracken'B family
eagerly at work in an effort towards saving, not only the
music, bnt the ancient langui^e of the Gael Banting's first
volume had consisted simply of harp melodies ; now a more
ambitious scheme presented itself. Every air should find its
match in a Gaelic song. These would be examples of the
efforts of the Belfast writers to put the songs into English
verse. These efforts were on the whole not very satisfactory
to Bunting, who has dashed down a terse criticism on each,
such as a teacher might write on his scholars' exercises. —
" Good," " Bad," " Middling," " Take this," and finally in
sarcastic vein, " Take this if there's nothing worse."
A schoolmistress. Miss Balfour, was the most diligent
and on the whole the most successful of these writers, thongh
Bunting shows impatience at her over-refinement of the n^ve
peasant songs. We shall come back presently to the matter
of theae English song words, and must first speak of the Irish
originals and the manner of their collection and the possible
reason for the fact that they were never published. It has
already been mentioned that Thomas Russell, who was by
this time liberated from prison, but exiled and resident
in France, had been at one time librarian of the Belfast
Library, and had studied Irish with one Patrick Lynch, a
native-speaking Gaelic scholar.
Early in the summer of 1802 the said Patrick Lynch was
'ThUre-interniBntwu effected through tfas ezertions of Hi F. J. Biggar,
H.B.I.A., uid ■ simple alab mth Iriih and English InKriptioaa marfca tbe
■pot
36
EDWAED BtTNTING— INTRODUCTORY MEMOIR
despatched on a song collecting mission to Connaugbt. He
departed in May travellit^ via Drogheda, where he saw
Bunting's brother Anthony, and then went on through the
middle of Meath and Cavan to Sligo and Connemara. Edward
Banting had gone off on a business tiip to London, and Lynch
kept in correspondence with John and Mary M'Cracken,
suffering, however, many adversities till Bunting joined him
at Westport in the middle of July.
The Gaelic song collection was the fruit of this journey.
The full account of Lyuch's experiences will be found in
this volume on a later page and makes interesting reading
as recorded in his diary and in the letters he wrote appealing
for fands to his friends iu BelfasL
For some of the songs that he bronght back with him,
Bunting bad already collected the airs in his visit to Elirwan
in 1794, but he bad never taken down the words, and Lynch
brought the words of these and of many others. Here we may
select one for quotation, which most have appealed with
poignant force to the heart of sorrowful Mary. It is called
" Donachu Ban," and the speaker is a sister who has seen
her brother die on the gallows. In the first verse she laments
the walks at night, the conspiracy and the informer's envy
which had wrought his ruin. Then she grieves that she had
not him in her care, as a young child borne in her arms, and
that she would not have carried him to the place of danger.
The song proceeds : —
" I gave a leap to the banka of the Lough
And the second leap to the middle of the bridge,
The third leap to the foot of the gallows
Where I found my brother stretched.
Mother ! Mother rise up on your f«et
Your darling son ia coming home
Kot from bis wedding, nor from the feast
But in hia coffin of deal firmly bound.'
******
37
ANNAIS OF THE lEISH HAEPEE8
But the traf^c drama of the United Irish inBurrection was
not yet completed. Wolfe Tone had died in prison, after
bringing a French invading force to Ireland's shoree. Others,
notably his friend Busaell, were known to he in Paris, ood
the menacing star of Napoleon Bonaparte's fortune was in
the ascendant.
The ballad singers were voicing the hopes of the people in
eonga like that which told
" Bonej's on the ahore
I con hear hia cannon roar."
According to the popular tradition in Belfast, Mary
M'Gracken is supposed to have been engaged to Russell,
and the romance of her love and Borrow is told as a parallel
to that of Emmet and Sarah Curran.
We shall see presently that tradition has erred, for
Bnssell cherished another attachment. He was, however,
her friend, and had sent when leaving prison a message
of affectionate regard to her and to Edward Bunting. Her
admiration for him was intense, and she seems to have
regarded him with distant awe according to the following
description supplied by her to the historian, Dr Madden :
" A. model of manly beauty, he was one of those favoured
individuals, whom one cannot pass in the street, without
being guilty of the rudeness of staring in the face, while
passing and turning round to look at the receding figure.
Though more than six feet high, his majestic stature was
scarcely observable owing to the exquisite symmetry of
his form. Martial in his gait and demeanour, his appear-
ance was not altogether that of a soldier. His dark and
steady eye, compressed lip and somewhat haughty bearing
were strongly indicative of the camp, but in general the
classic contour of his finely-formed head, the expression of
almost infantine Bweetness which characterised his smile, and
the benevolence that beamed in his fine countenance seemed
to mark him out as one, who was destined to be the orna-
ment, grace and blessing of private life. His voice was
EDWAED BUNTING— INTEODTJCTORY MEMOIR
deep-toaed and melodious, and thoagfa his convereational
powers were not of the first order, jet when roused to
enthusiasm, he was sometimes more than eloquent. His
manners were those of the finished gentleman oouibined
with native grace, which nothing but superiority of intellect
can gire. There was a reserved and somewhat haughty
statelinesB in his mien, which to those who did not know
him had at first the appearance of pride ; but as it gave
way before the warmth and benevolence of his disposition
it sooD became evident that the defect, if it were one, was
caused by too sensitive delicacy of a nohle soul ; and those
who knew him loved him the more for his reserve, and
thought they saw something attractive in the very repulsive-
nees of his manner."
A person of such marked distinction would be at any
time observed in a crowd, and Kussell must have had con-
siderable difficulty in disguising himself when be returned to
Ireland in 1803. However, he seems to have been able
to do so, and we find him ia the middle of July, " on the
day of the Maze races," appearing in the heart of Connty
Down in a district where be was exceedingly well known.
One of the first persons to meet him was the " Fentaglot
Preceptor," as from the title of one of his own books, we
may call the learned Patrick Lynch, Bunting's emissary
to Connaught. Considerably startled, he was yet inquisitive
enough to hang around Kussell for some days overhearing
mu<:h of his conversation and plans. He had hoped to rouse
ioaurrection in the north, and to march to the assistance
of his friend Bobert Emmet, who would be, he expected,
by that time in poBsession of Dublin. All these hopes were
doomed to failure. No force of any account could be persuaded
to rally to Bussell's aid, and in a few day's time he was a
fugitive with a price apon bis bead, having learned of ^e
premature outbreak of riot and disorder in which Emmet's
elaborate pUos had ended.
It is now tiiat we can dwell on the contrast between
ANNALS OF THE IRISH HARPERS
the stoT7 of Sarah Curran and Emmet and that of Maiy
M'Crackeu's devotion to her friend. It is now, too, that
the fidelity of Edward Bunting was tested. He bad never
been involved in the United Irish conspiracy, still cherished
moderate and loyal political ideas, yet he was the first man
from Belfast to go oat to meet the outlaw in his place of
refuge among the hills, and to offer active assistance.
But Mary M'Cracken had gone earlier, taking her sister
with her, to the house of a Covenanter, James Witherspoon,
of Enockbracken, beyond the Castlereagh Hills. It was
she who brought home the message that Russell desired to
see Bunting, and James Hope adds in his narrative of these
events that he desired to enquire of Bunting about the lady
to whom he was attached. This was a Miss Simms, a
reigning helle in Belfast Society. She does not seem to
have reciprocated Russell's affection, or to have sent any
message or offer of help to him in this time of trouble.
Probably she had been pleased to make a conquest of him
when he was the object of general admiration.
Russell soon removed to a place called Ballysallagh, not
far from Bangor, and was in constant communication with
Miss M'Cracken till a means of escape was planned. At
last she sent money to provide for his journey, and at
Craigavad he embarked in a Bangor sailing boat in care
of two men called Campbell, They conveyed him safely
to Srogheda, where he lay concealed in the house of
a Protestant gentleman. We cannot help thinking that
Bunting must have had a hand in arranging for this refuge
in Drogheda, where he frequently visited his brother
Anthony. From Brc^heda Russell removed to Dublin, and
after remaining for some time in hiding was arrested, and
lodged in Kilmainham on 9th September.
Misa M'Cracken, at the earnest entreaty of her mother
and relatives, yielded so far as not to attend the trial of her
friend, hut she collected money to pay for the defence, and
40
EDWABD BUNHNG— INTRODUOTOKT MEMOIE
engaged her nncle, Hemy Joy, to act aa connael. In a
letter of farewell, written two days before his trial, Koasell
thanked her for all her efforts on his behalf, bnt his
characteristic reserve and pnnctilloua courtesy is shown in
that throi^hoat, he refers to the kindness of ";oa and
yonr sister."
The trial took place on the 20th of October, and reaolted
in the conviction of ItuBsell, who, after an affecting bat
dignified speech from the dock, was sentenced and duly
executed.
Two persons, whose handscript is abundantly in evidence
in oar Bunting papers, were present at the RuBsell trial in
different capacities.
The unfortunate Patrick Lynch, who, it will be re-
membered, had hovered around Suasell when he was trying
to stimulate insurrection in July, had been arrested in
Belfast not long before the trial, kept in priBon on the
charge of high treason, and only released on promising to
appear as a Crown witness against Russell.
He duly appeared, and said in evidence that he knew
the accused having given him lessons in Irish in the library
in Belfaat, and detailed some of the conversation that had
taken place relative to the projected insurrection. We
letrtda from dwelling on this painful scene, aa the un-
fortunate Lynch, who bad not the stuff of a hero in him,
seemed to realise the meanness of his position. At Uie end
of his evidence he faltered oat a few words that might be
token OS an appeal to the prisoner for forgiveness. " I hod
a regard for the man ; he was my friend."
In the body of the coart, meantime, sat an attentive
listener, who busily tried to commit to paper every word
that fell from the prisoner's lips. Debarred from being
present at the trial, Mary M'Cracken had entrusted to one
Hughes, a lawyer's clerk, the task of preserving for futurity
Rassell's speech before sentence.
ASNALS OF THE IBISH HAEPEBS
Thifl waa, we believe, no other than the Tom Hughes,
who acted as scribe to blind Arthar O'Neill, the harper,
when dictating his autobiographj. The speech which he
preserved for the perusal of BnsseH's friends does much to
iUamine his memory, for in it was no bombastic justifica-
tion of his conduct, bat a solemn appeal to men of wealth
and station to pay heed to the condition of the poor.
After the execution and burial Hughes returned, still
by the faithful Mary's order, to place a stone in Downpatriok
Cathedral Yard with this inscription :
"The Qrave of Bosskll."
CHAPTER V
EDWABD BmmHG— AH IMTBODUCTOBT HBUOm — (continvtd)
Wl would Qot have dealt at Boch lengths with the drciuii-
staaces surrounding the tragedy of Thomas BoBsell'a death,
but that the fortunes of BuDtiog's projected second collec-
tion were therebj affected.
We can well believe that LTDch, the anfortonate
" Pentaglot Preceptor " was no longer employed by the
M'Crackena and their ally. He, in fact, withdrew to
another sphere of labour in Dublin, and is lost to our
view. With his departure difficulties likely arose about
hia Gaelic manuscripts, although they remained in Bunting's
possession, and had been all fairly copied.
But the loss of Lynch was not the only misfortune ; an
estrangement arose between the M'Cracken family and Dr
MacDounelL
Id the period succeeding Russell's first arrest and
impriaomnent, MacDonnell had shown himself a steadfast
friend, as may be concluded from the letters written to
John Templeton, of Belfast, from Russell in Kilmainham.
In them the prisoner asks his financial necessities to be
made known to the doctor, or to have his state of health
explained and advice given. There are constant references
to the Library and museum collection, and other subjects
of common interest.
Dr MacDonnell, however, had never identified himself
with the insurgent cause, and, we suppose, whilst he stood
43
ANNALS OF THE IKISH HARPERS
to his friends as long as he could, he considered himself
nnder do moral obligation to safTer or make sacrifices.
When Russell was a fugitirb in the north, the aathorities
became suspicious that Dr MacDonnell had extended aid
to him. A visit was paid to him, and he was invited and
urged to sign a document deDouncing the attempted insur-
rection, and offeriDg a reward for the apprehension of
RusseU. He ui^d that he did not believe that Rossell
w&B is Ireland, had no news or knowledge to that effect,
and that he saw no need to sign the proclamation. A
sister-in-law, who was in the room, added her entreaties
with the apecions plea, that if he was so confident that
Russell was not in Ireland, he should have no hesitation
in signing the paper, eapeciall}' as he was decidedlj opposed
to the revolutionarj designs.
He was thus persuaded to sign, bat writing to Dr Madden
said:
" I had not done it an hour until I wished of all things it
was undone. I need not dwell upon what passed soon after,
when Patrick Lynch was apprehended and fixed apon to
identify Russell, in which transaction Lynch was entirely
blameless in my opinion.
"Three friends of mine, John Templeton, his sister and
Miss Mary M'Cracken refused soon after to speak well of
me, and a sabscription I had been in tlie habit of paying
to Miss Russell was returned to me. These things vexed me
more than I can express, but without any explanation upon
my part, all these persons returned to my friendship."
In 1807, the first volume of Moore's melodies appeared,
and, as already explained, his free and easy method of
borrowing from Bunting's collection provoked intense
resentment.
The advantage of popularising the airs by turning tbem
into drawing-Toom songs was seen, and Banting determined
to try and rival Moore. It was now that the Mase was
44
EDWABD BUNTINa—INTEODUCTORY MEMOIR
ioToked b; that obliging preceptress, Miss Balfour, and ahe
sat down to modify the Gaelic songs of love and war and
drinking into something more delicate.
We open the manuscript book of English translationB at
random, and come on a rendering of a little Qaelic lyric that
has become famous in the reoderiDg by Douglas Hyde, which
opens:
" Oh were yon on the mountain
And saw you my loya !"
Here is how Miss Balfour deals with it :
" Saw you the rock that the huel embowers 1
Saw you my love as she trimmed the wild flowers I
Or saw you the lustre of Beauty the rarest 1
Or saw you the female in Erin the foireat 1 "
aud here is the style in which a Mr M'Neilt * treats " The
Ooolin":
"Hare you seen the proud maid with the looae flowing hab
Afl she tripped through the woods with a negligent air,
Have you seen my cold love with her feet gemmed with dew 7
Still dear to my heart though to love never true."
There are, of course, better verses than this, but Wordsworth
had not yet convinced the writing world of the artificiality
of accepted styles of poetic diction, and the Belfast writers
were skilled in the accustomed conventions aud endeavoured
to remould the Gaelic translationB by their standard.
Other specimens might be quoted as the song words
include translations by Dr Brennan, by a Mr Boyd, "the
celebrated translator of Dante," Mr M'Neill, Robert Emmet,
Thomas Russell (in a very sentimental eighteenth century
style), Gilland (a fairly good song-writer), and Stott, a County
Down man, who enjoyed the doubtful distinction of being
mentioned in Lord Byron's satire on "English Bards and
Scotch Reviewers," as "grovelling Stott" Poems by Dean
Swift and Campbell are copied as adaptable for the music.
' Author of a famoot temperance poem, " Scotland'! So^th,"
45
ANNALS OF THE IRISH HAEPEES
Banting, however, detennioed to try and arouse Thomas
Campbell to a rivalry with Moore, and, with that in view,
started for London in March 1809. The result was far
from sfttisfactoiy. Campbell was a man, who, having secured
ea^ success and earlj fame, was inclined to rest on his oars.
At a later page will be found quotations from letters to
Miss M'Cracken, in which Bunting alludes to his negotia-
tions with Campbell. We find among the manuscripts a
document he had drawn up for the guidance of this poet
and others who might be induced to supply song-words for
the airs.
He gives in all cases the subject matter of the Irish
poems and a specimen verse in the metre suited to the
music, and he also explains the character of the epithets
usual in Irish songs ; that there are " frequent allusions to
the perfumes of the apple-blossom," that " the cuckoo ia
frequently introduced into their songs."
His attempt to direct the verse writers on to Gaelic lines
is profoundly interesting, and we rejoice for his sake to know
that before he passed away he had seen a young poet rise up
in Belfast in the person of Samuel Ferguson, who must have
realised his ideal of a translator in such lines as these :
" Oh, had joa seen the Cooliin
Walking down the Cuckoo's street
With the dew of the meadow ahining
On her milk-white twinkling feet,
Oh, my love she ia and my Coleen oge
And ahe dwells in Balnogar
And she bears the palm of beaaty bright
From the fairest that in Erin are."
Ferguson was strangely enough bom 1810 in Belfast,
shortly after the time when Bunting was sorrowing for
want of a poet to translate the Gaelic songs of his collection,
and he was destined to collaborate with the musician in his
last laboort. One would almost be led to believe that the
46
EDWARD BUNTING— INTRODUCTOHY MEMOIR
strong deeiie of his townsfolk had Bnmmoned that poet spirit
bam the vasty deep.
The merits of the 1810 volume have been very jostly
estimated by Petrie, whose criticism of the 1792 collection
we have already quoted. Having given the first criticism
we let the other follow. He refers first to the words:
" If Che well of Campbell's genius ran deep and clear, it
was exceedingly difficult to pump anything out of it, and so
after a long delay end innutnertible fruitless applications,
Bunting was ultimately obliged to content himself with two
indifferent songs end permission to use two of the poet's
ballads written long previous to the agreement, and which
however excellent they confessedly were is their way, were
entirely out of place in a collection of Irish melodies . . .
but notwithstanding the want of merit or so-soishnesB
generally of the words esBociated with so many of the airs,
tills volume was not only a beautiful, but a truly valuable
one ; and though, as a whole, it was not so rich in melodies
of the finest character as his first volume, it yet contained
very many in no degree inferior — equally new to the public,
and moreover arranged with such an exquisite grace, skill
and judgment, as at once placed its Editor, in the opinion
of die musical world, in the foremost rank of British
Musicians, and as the most accomplished of those of his
own country."
This alae ! was the only reward it procured him. Like
his former collection its sale barely paid the expenses of its
publication, and this chiefly through his friends in the NortJi
who bad become subscribers to the work to encourage him
to undertake it. It was too costly, too repulsively learned
with a long historical dissertation on the antiquity of the
harp and b^pipes prefixed, to give it a chance of suiting
the tastes or purses of the class of society which had bought
the earlier work ; and among the higher classes there was
tiien too little of Irish taste to incline them to receive it So,
after a fruitless effort to force a sale for it, while in his own
47
ANNALS OF THE IRISH HAEPEES
hands, Banting was at length glad, (or a trifling sum, to
transfer it altogether into thoae of his publishers, the Messrs
Clementi ; and like its predecessor the work is now rarely to
be seen.
According to Petrie > Banting bad in any case the
pleasure of seeing his merit recognised by impartial critics
in the musical world of London, and daring the period,
when the preparations for publication detained him there,
he enjoyed much literary and intellectual society.
" At the hospitable table of the Messrs Longman he had
the pleasure of meeting the men most distinguished in
literature, and at the Messrs Broadwood he was made
known to the most eminent men of his own profession.
At these houses he used to delight his hearers by his
performance of the Irish music; aud with the Broadwooda
in particular, he was on this account as well as others,
throughout his long life, an especial favourite; so much so,
that on his last visit to London in 1839, they presented him
with a grand pianoforte which they allowed himself to choose
out of their extensive manufactory."
The interest of the Broadwood family in Irish music,
which was aroused by Bunting, has continued to the present
day, as is evident from the work of Miss Lucy Broadwood,
of the Folk-song Society, Her attitude towards Irish
traditional music is one of sympathy and anderstanding.
At the end of the year 1809 hie Belfast admirers
celebrated the publication of his book by giving a banquet
in his honour. It took place in O'Neill's Hotel, Rosemary
Street, on 20th December, with Gilbert M'llveen in the
Chair, and William Stevenson as Vice - Chairman. Old
Arther O'Neill, who bad now settled as instructor to the
Harp Society in Belfast, was present with twelve pupils, all
blind, and performed selections of music.
This festive ceremony was tamed into a sort of anti-
' In ths Di^lin Univtnilf MagaaiM article aliead; freqaently quoted.
EDWARD BUNTING— INTEODTJOTORY MEMOIR
Moore demonstration, as the list of toasts iDcluded the
names of men famous in the literary world, that of Moore
being of set purpose omitted.
We find in Moore's " Life " by Lord John RnaseU a most
interesting correspondence on the subject, for the poet of
the melodies was actaally very much hurt by the omission,
as, of course, Bunting's Belfast supporters meant that he
should be.
Mr Corry, a North of Ireland man, tried to gloss over
the matter and to soothe Moore's feeling, explaining that
the Belfast banquet was not so much a social and literary
gathering as a mere demonstration got up to advertise and
puff Bunting's volume, in which the banquet promoters
were financially interested.
The affair, however, rankled in Moore's mind, for, not
content with the adulation of royalty, the aristocracy, and
literary world of England, he was eager to be recognised as
the uncrowned laureate of Ireland. The refusal of homage
from Belfast was a bar to his claim. With this in mind, we
can understand the exultation with which he at length read
Bunting's acknowledgment of his supremacy, which has
already been quoted.
Reference to the Sidebotham letters ^ show us that his
devotion to Irish music had not prevented Bunting from
spreading in Belfast a taste for classical music. Mr
Sidebotham, who resided in Belfast before going to practise
law in London, was one of a party of distinguished amateurs
who met under Bunting's direction to practise Beethoven's
aym phonies.
We will deal presently with the annals of the Harp
Society, as this department of Bunting's work more especially
concerns ns, but not less to his credit is the fact that
he conducted the first production of Handel's Messiah in
Belfast This took place in Dr Drununond's Church,
^ St |«gti 308-800.
49 D
ANNALS OF THE IRISH HAKPEES
Bosemarj Street, in October 1813, when a whole week was
occupied by a mnBical festival on a large scale. The
Oratorio was rendered by the choir of Ohrist Chnrch
Cathedral, Dublin, We shall here add some details from
Bunting's private papers as to the expensea "Mr Cooke
and his wife" (the prima donna) Bunting enters as having
been paid 100 guineas ; Spray (the tenor) and daughter,
45 guineas; Mahon Wedner, 30 guineas; Sidebotham, as
secretary, regulating everything, received 30 guineas for
his trouble ; and, after paying for the choir and a band of
fifty, the expenses amounted to a total of £638. The
concerts took place in the theatre, or, when an oi^n was
required, in Dr Brummond's meeting-houee.' There is an
addendum to the list of expenditure. " Paid Spray out of
my own pocket 5 guineas, aa he said that his rank as first
tenor deserved it," by which we see that concert directors
had to cope with the same difficulties as at the present
day.
> So maoh attention bw been girea to Banting u a Bone-colleDtor, that
hu career u an Organiat haa been acaroely anffiaiently alTnded to. The
Belfut churclias in whioh he offistaMd were St Auae's (aa aaatatutt),
Dr Drummond's Chorch in EoMiaarj Stieet, where the Oratario part of the
Hnsical Featiral was held, and Gnally St Qeorge'a, High Street, Bclhat
His loDseRt atay «tu at BoaeTDary Street, where his position wae mora
independent than at St Anne's. He was atils at timet to appoint a depnty.
CHAPTEB VI
BDWAED BnMTINO— AK nfTaODUOTOET MEKOIB — (amtiwued)
It is DOW necessaif for as to retrace oiir eteps, and give
some account of the reanlta of the Belfast Harp Festival,
and of BnotiDg's earliest pablication in inflaencing public
taste. We have dealt separately and at length with the
subject of Thomas Moore's derivation of so many of his
melodies from Bunting's gleanings.
Another literary persont^e, who had much influence
in arouaing the enthusiasm of the fashionable world, was
Sydney Owenson, author of " The Wild Irish Qirl " and other
novels, later known to fame as Lady Morgan. Her memoirs
and correspondence are of great interest, throwing light on
the state of society in town and country.
In Aithur O'Neill's " Life " will be found a reference to
" Owenson the Comedian " as an admirable singer of Irish
airs. This popular actor, who fiourished in the latter part
of the eighteenth century, had at one period of his career
inaognrated a National Theatre and Music Hall in Dublin,
in which his singing formed as powerful an attraction as
the drama. His venture was mined by the Theatre Boyal
obtaining a monopoly, and he later became deputy-man^r
of it ]^ family, consisting of two daughters, were bron^t
up under the opposing influences of an actor-father and a
puritanical mother, whose whole pleasure was in the society
of the followers of John Wesley. Lady Morgan has left
51
AmTALS OF THE IBISH HAKPEBS
a delightful accoont of her own cbriBtetung, sajit^ in
concliuioD :
" I am sorry not to be able to tell all tills aa a ' credible
witness' of the Bceae narrated, for beii^ bat a month old
I understood nothing about it; but I have bo often heard
of it from mj father as I sat upon bis knee, that my
testimony, although hearsay evidence, may be accredited."
The company included Father Arthur O'Leary, a
Dominican Fiiar, famous as a preacher and controversialist,
who had broken lances in attacking the penal laws with
John Wesley himself. Next to him was the Sev. Mr
Langley, a missionary of Lady Huntingdon's College ; and
amongst others present were Counsellor MacNally, Kane
O'Hara, and Captain Jephson, three dramatists — Richard
Daly, patentee of the Theatre Koyal ; Signor Qiardiani, the
composer; Edward Tighe of Woodstock, a dramatic critic,
" Counsellor Lysagbt," the Irish improviaatore in his youth,
the eloquent barrister and prime wit in his middle ^e, who
acted as sponsor.
"The Bev. Charles Macklin, nephew to Macklin the
actor and dramatic critic," who, she adds, " was bo great a
favourite with my father that he chose bim to perform the
ceremony of inaugurating me into the Church militant
But his preaching, however eloquent, was not equal to his
skill iu playing the Irish bagpipes, that most ancient and
perfect of instruments. ' The Piper that played before
Moses' is still an Irish adjuration, and a personage who is
at any rate sworn by. ... A branch of Shillelagh from its
own wood near Dublin flourished as a Christmas tree in the
centre of the table. . . . My father sang first in Irifih and
than in English Carolao's famous song of ' O'Boarke's Noble
Feast,' whilst the chorus was swelled by the company. . . .
Many years after this notable event, Counsellor Lysagbt,
an eminent barrister, going the Muuster Circuit, bivouacked
for the night at the house of a friend in Tipperary. He
stole into the drawing-room, which was full of company,
not to interrupt a song which a young girl was singing to
62
EDWAED BUNTING— INTEODUCTORY MEMOIR
her harp, it was the Irish cronan at Eman a Cnaic, 'Ked
of the Hill ' ; the air was scarce fioiBhed when he sprang
forward and seized the harpist in his arms, exclaiming,
'This must be Sidney Oweuson — it is her father's voice —
none but an Irish voice could have such a curve in it, and
she is my god-child ' "
We quote at this length to introduce the reader to a
picture of " The Wild Irish Girl " with her harp. Her memoirs
throughout afford a complement to O'Neill's evidence of the
popularity of music, and the manner of education in Irish
country houses. In the eighteenth century young people
of quality were not sent to schools, nor was a general
governess or tutor "of all work" kept. Tutor specialists
went from house to bouse; one time it was the writing
master, next a French emigri or a Latin-learned parson,
a dancing-mistress succeeded to a person who had dealt
with more serious branches of culture, and the wandering
minstrel was detained on his journey as a guest in some
great house to give sets of hai^IeBBona to the family and
neighbours.
An Irish Government Department has, by the way,
inaugurated in late years a somewhat similar system of
itinerant instruction.
Sydney Owenson gives a description of her own debUt as
a governess, which contrasts delightfully with the dismal
eiperiences of Charlotte Bronte. Leaving a dance in Dublin
attired in muslin and pink silk stockings, with no time to
change, she bundled herself up in a ^eat Irish cloak, and
went by coach to the country house of a Mrs Fetberston-
haugb in Westmeath. The dinner party on ber arriv^
included Uie lady of the bouse, her two daughters, two
itinerant preceptors, Mr O'Hanlon, a writing and elocution-
master, and a dancing-master. Father Murphy, the F. F.,
and the Rev. Mr Beaufort, Protestant curate.
The parish priest proposed the health of the new
63
ANNALS OF THE IRISH HARPERS
gOTemess, and after dinner the batler anaoauced "that
the piper bad come from Castletown to play in Miss
Owenson, upon which the girls immediately proposed a
dance in the back hall, and when I told them I was a
hmoQS jig-dancer they were perfectly enraptured. So
we set to, all the servants crowding round the two open
doors in the halL"
She concludes this account of her terpaicborean d^r&t
into the scholastic profession by describiog the last occasion
on which she had danced a jig in public during the
Viceroyalty of the Buke of Northumberland, when at
Dublin Castlfi she accepted a challenge from Lord George
Hill, and defeated him.
like Thomas Moore, Lady Morgan fonnd, through the
music of Ireland and her fresh and charming mode of render-
ing it, an enthusiastic reception into aristocratic society. She
became the pet of the Marchioness of Abercom, and was
married In the drawing - room of Baronsconrt to Charles
Morgan, the family physician, who was knighted to give
the wild Irish girl the title of Lady.
She exerted herself on behalf of the preservation of the
Irish harp, and I^an at Dublin, who started as a harp-
maker after the Belfast Festival, owed many orders to her
recommendation.
Lady Abercom, in a letter to her, wrote on receiving
ooe:
" Your harp is arrived, and for the honour of Ireland, I must
tell you, is very much admired and quite beautifuL Lady
Aberdeen * played on it for an hour last night, and thought it
very good. . . . Fray tell poor £gan I shall show it off to the
best advantage, and I sincerely hope he will have many orders
in consequence."
In 1805, Sydney Owenson had bought her own harp ont
of the earnings resulting from the sale of het first novel
' Lftdf Aberoora'i msmad dftnghter.
64
TURLOGIt O'CAROLAN.
EDWARD BUNTING— INTKODUCTORY MEMOIR
To her interest we owe the description of Harpei Hempson,
which finds a place later in this volume. Interested by the
reference to him in Bunting's book, she sent Mr Sampson, a
Derry gentleman, to interview him in hia home at Magilligan,
as she found it impossible to journey there herself. She
enconr^ed the various harp festivals and the Harp Society
founded in Dublin, and finally, through her enertions, a
beautiful bas-relief portrait of Carolan playing on bis harp
was executed by the famous sculptor Hogan, and erected in
St Patrick's Cathedral, Dublin.
Though her musical taste was obviously inherited from
hei father, much of her enthusiasm was inspired by
Bunting's efforts. This account of the part she played in
making Irish music and the Irish harp fashionable may
find a place here without our being accused of unwarrant-
able digression.
We shall now deal with the varioas societies formed
to preserve and popularise the harp.
A year before Bunting's second volume was published,
Dr James MacBonnell and other leading Belfast men, with
Bunting as musical organiser, and John M'Adam as
secretary, founded the Irish Harp Society of Belfast,
Perhaps a mistake was made in trying to connect the
musical effort with a philanthropic aim — namely, to pro-
vide occupation for the blind. "The first Harp Society, in
fact, organised a regalar institute for the blind, and the
pupils were boarded as well as instructed, with the excep-
tion of a few day-pupils resident in Belfast. Old Arthur
O'Neill was employed as preceptor, and we owe to hia
residence in Belfast between the years 1808-1813 the fact
that his interesting autobiography has been preserved. It
was taken down from his dictation by Tom Hughes, a
lawyer's clerk, who figures otherwise among our manuscript
collection as " Nibbs," Mr Bunting's private secretary.
Dr W. H. Grattan Flood, in his " History of Irish Music,"
55
ANNALS OF THE IRISH HAKPEKS
briefly but suCBciently eammariseB the record of the first
Belfast Harp Society:
" At length, on St Patrick's Day 1808, the Belfast Harp
Society was fonnally inaugurated at Linn's Hotel, the White
Cross, No. 1 Castle Street. In the list of original subscribers
(one hundred and ninety-one) the total anuual subscriptions
amounted to £300, Lord O'Neill being appointed first presi-
dent, vice Bishop Percy of Bromore, who declined the honour.
The first teacher was Arthur O'Neill, and the classes opened
with eight day-pupils and a girl, Bridget O'Eeilly. Of these
two were dismissed in June 1810 for inaptitude to learn, thus
leaving seven boarding- pupils, viz.: Patrick O'Neill, Patrick
M'Grath, Edward M'Bride, Nathaniel lUiney, Abraham
Wilkinson, James M'Molaghan snd Bridget O'Beilly, in
addition to Edward O'Neill, Hugh Dornan and John Wallace
as day-scbolars. Harps were supplied by Messrs White,
M'Clenaghan and M'Cabe, of Belfaet, at a cost of ten
guineas each. Prom 1809 till 1811 there were Irish classes
in connection with the Belfast Harp Society, with James Cody
as Professor, the grammar used being that by Bev. William
Neilson, D.D. In 1812 the society was in diEficulties, and
it collapsed in 1813, having expended during the six years of
its existence £955. To the credit of the society poor O'Neill
waa given an annuity of £30 ^ a year, but he did not long
enjoy it, as his death occurred at Maydown, Co. Armagh, on
October 29th, 18Iti, aged eighty-eight. His harp is in the
Museum of the Belfast Natural History and Philosophical
Society." '
To this we may add, in relation to Irish being taught
to the harp pupils, that Bunting says all harpers previous to
O'Neill had used Irish terms in regard to their instrument
and music A Miss O'Beilly, of Scarva, was the last person
to be tai^ht the harp through the medium of Irish. Through
her aod other sources Bunting carefully collected all the Irish
technical musical terms, which were duly published in 1840.
The unfortunate Patrick Lynch had assisted Dr Neilson
' Dt Jsmas HacDoDDell wu the donor.
* Tnuuicrred to tha MunioiptI CoUaetion, 1810.
56
EDWARD BUNTING— INTEODUCTOEY MEMOIE
with the Irish grammar. It is quite a literary production,
contaiDiog a splendid phraseology, and amongst other things
the famous " Lament of Deirdre for the Sons of Uisneach " is
given as a reading and recitation exercise.
The work of the first Belfast Harp Society was emulated
in Dublin, where John Bernard Trotter, a talented but
eccentric man of means, who had been secretary to Charles
James Fox, became the guiding spirit.
Patrick Quinn, who had been one of the youngest harpers
in Belfast, 1792, was brought from the North as instructor.
The society was inaugurated 13th July 1809 with an
influential list of subscribers, including Tom Moore and
Walter Scott. The last-named, by the way, must have
surely realised that he had been premature in poetically
chronicling "The Last MinstreL"
Bernard Trotter gave £200 a year to the Harp Society, and
at his residence of Richmond, near Clontarf, he entertained in
great style. Quinn, seated in a picturesque arbour, used to
delight the numerous guests on festive occasions with the
strains of his harp. Trotter also earned out a grand Carolan
Commemoration, where Quinn figured along with many dis-
tinguished musicians including Sir John Stevenson, of
Melodies fame. Trotter became bankrupt in 1817 owing to
hia extravagance, and his Harp Society expired. His own
death occurred in Cork, 1818.
In the following year, 1819, just when Bunting, who
bad for a couple of years been organist of St George's, was
about to leave Belfast, a pleasant surprise occurred in the
arrival of a gift of £1,200 for the purpose of reviving the
harp and the ancient music of Ireland. The money was
subscribed by a number of Irishmen resident in India,
beaded by the Marquis of Hastings, formerly prominent
in Irish affairs as Lord Moira,
This generous subscription re-started the Harp Society,
which was inaugurated 6th April 1S19. Classes were
57
ANNAIS OF THE IKISH HAEPEES
started with Edward M'Bride, and afterwards Yaleotine
Eeunie, as teachers. The scheme was carried on for fullj
twenty years. The teacher E«nnie, dying in 1837, was
succeeded by James Jackson, who tanght harp classes in
Cromac Street for one year more, when the society finally
expired. Beferences to the last e&brta of the Harp Society
will be found in Dr MacDonneH's letters, where we find hint
boasting of the talents of the pupils, and where we are
told of Mary M'Cracken superiDtending the making of a
harp.
Drogheda, where BuDting had lived as a child, aud where
his brother Anthony had been organist for many years, was
the nest scene of a Harp Society effort. It is pleasing to
know that the society started there in January 1842, two
years before Bunting's death, and he must have been cheered
by news of it.
Father Thomas Burke, O.P., of Drogheda, was oi^niser ;
Hugh Fraser, teacher of fifteen pnpils. A German scholar
called Kohl, travelling in Ireland in 1843, was entertained
by Father Burke at a musical recital, of which he has given
a vivid description :
" The first person who came forward," writes Eohl, " was
an Irish declaimer, a man from among the people, I know
not whether a gardener, a carpenter, a plongbman, or a
broken farmer, but I was told he knew a countless number
of old Irish songs and poems. He came in, and thns
addressed me: 'I am come out of friendship for him/
meaning the priest ' He told me that there was a foreigner
here who wished to hear some of our old Irish poems, and
I will gladly recite to him what I know. . . . Our fore-
fathers have handed down to us a great number of poems
from generation to generation, and very beautiful they are if
yon could only understand them. How beautiful is the song
of the glittering Spring, which is but three miles distant from
our town, or that of Cuchutlin, the Irish Champion, who went
to Scotland. Shall I begin with the story of Cuchullin ? ' "
EDWAED BUNTING— INTRODUCTORY MEMOIR
So he related the stor; of Cachullia's strife with hia
own son, whom he slew unwittingly. Then a harper wae
introdnced who played Brian Boron's "March" and the
traveller listened in rapture, and says t
" When Moore monmf nlly sings,
" < The Harp that once throngh Tara's halla
The Boul of music shed
Now baoKS as mule on Taia's walla
As if that soul were dead.'
"We mast not understand him literally. Many hatpa
still thrill all through Ireland, and although the Harpers'
Society of Belfast was lately dissolved, yet another has
been founded at Drogheda, of which the Clei^iyman whose
guest I was is the soul and president. Hia whole room
was full of harps, and comprised many new ones."
To this account of Eohl's the present writer would add
the evidence of a cousin, who died lately at a very advanced
age. In the middle of life she opened a ladies' school at
Drogheda, and was delighted on arriving in the town to
hear of an old harper who rendered ancient Irish music
in on exquisite fashion. She invited htm to the school to
play for her pleasure and for the pupils, and finally induced
him to give her and her sister some lessons. This must
have been one of the survivors of the Harp Society.
Kohl's description of the priest's room fnll of harps
recalls a visit we paid to the Rev. Monsignor O'Laverty, F.P.
of Holywood, the learned historian of the diocese of Down.
The monsignor was aa great an enthusiast as Dr MacDonnell
would have desired to follow in hie footsteps. He was
instrumental in starting ihe making of harps in Belfast,
and boldly advocated the introduction of the instrument
into National Schools, instead of the squeaky harmonium
and tinkling pianos so often found.
Through Us enterprise and advocacy, and the support of
59
ANNALS OF THE IRISH HARPEfiS
the Gaelic Lea^e and Feie Geoil Committees, the 1
harp is not obsolete, and even in LoDdon it is oo
beard as an accompaaimeat to eong at the coocei
Folk Song and Irish literary Societies. Is it not
in the prefoce of this book that it was through thi
of an Irish harp that the grandson of Edward Bo)
discovered to be resident near London ? An expc
quest of an instrument tor a concert led finall
threshold of Dr Louis MacEory, and to the cost
of his grandfather's precious relica
CHAPTER VII
SDWARD Bmrmia — ak ihtboduotobt ubhoib — (eoniinued)
TmBTEiN years had elapsed betweeo tlie pablication of
Banting's first and second collection. The latter, appearing
at the end of 1809, was not to be followed bj the third and
final Tolume till the year 1840 ; bat we are not to rashly
coaclade that bis enthusiasm in the subject had waned. We
have seen that bis efTorta were never rewarded by a due
financial return, and that his pablished airs were pirated
or lavishly borrowed from ; so, whilst he continued in his
work of research and collection, this was done at his leisure
and as a labour of love, in the intervals of his necessary
occupation as organist and teacher.
The great musical festival of 1813 must have helped to
spread bis fame to Dublin, and in a few years' time he went
to reside there. There were two reasons which decided him
to this step. His elder brother Anthony, for whom he had
a warm attachment, had for some years been resident in the
capital, and the lady who was now to be bis wife had also
left Belfast, and with her mother was conducting a ladies'
school in Dublin.
Banting, as we have seen, had been something of a
spoiled youth, and a popular dining-out bachelor. He had
lived an unsettled and roving life of necessity in connection
with his teaching work and masic-coUecting. Though early
left an orphan, a home was provided tor him with the
M'Cracken family from his early youth.
AN^AJ^ OF THE IRISH HAHPEBS
The last glimpse we get of his life as a hachelor is from
the pen of Fetiie, and at an era which Charles Lever haa
very well described in one of his military novels. It was
in Paris in 1815, while the allied sovere^^ occupied it
after the fall of Napoleon at Waterloo :
"Od this occasion," writes Petrie, "his portly, well-fed
English appearance procured him the honour of being faann-
lesely blown up, by a mass of squibs and crackers being
placed under him as he was taking a doze on a seat in the
Boulevards, by a crowd of miBcbievous Frenchmen, who,
sarrounding him, followed up the explosion with roars of
laughter and exclamations ot 'Jean Bull!' Here, too, he
made intimacies with many of the most eminent musicians,
whom he no lees delighted by the beauty of the Irish airs
which he played for them than he surprised them by the
assurance which he gravely gave that the refined harmonies
with which he accompanied them were equally Irish, and
contemporaneous with the airs themselves. 'Match me
that,' said Bunting proudly to the astonished Frenchmen,
as, slapping his thigh to suit the action to the word, he
rose from the pianoforte after delighting them with the
performance of one of his finest airs.^ . . . Led by his
love for music, and particularly of the organ, which was at
all times his favourite instrument, he passed from France
into Belgium, where from the organists of the great
instruments at Antwerp and Haarlem he acquired much
knowledge, which it was our good fortune to have often
beard him display on our own oi^n at St Patrick's."
Four years later, on 20th January 1819, he wrote to
Mis Chapman, a widow, lady principal of a school at 18
Leeson Street, Dublin, and asking the hand of her dai^hter,
Miss Mary Anne Chapman, in marrii^e.
This family had formerly been resident In Belfast, where
Mrs Chapman also had kept school. It is advertised in the
' Th« grwt OftUUni, delighted with Bntiting'i perfotniftiiM of lome of the
Irilh ain, took s dikmand ring off her finger and presentad it to Bunting. It
in of his gnnddaughter, I^j Deane.
EDWARD BUNTING— INTRODUCTORY MEMOIR
Bdfatt NewdaUr of 1819-1820 as having been located at
the coraer of Curtis Street, near York Street.
As Fetrie, in the UniversUy MageuHne, says Mrs Chapman
had removed to Dublin some time previous to this, it may
have been that her daughter remained some little time
in Belfast conductiDg the older establishment, whilst her
mother was launching the new enterprise. A brother wbp
already in Dublin, a fellow of Trinity Collie, and this gave
the family a status and educational connection.
About the very time when Mrs Chapman was leaving
Belfast, the wife of Bunting's brother John was advertising
the most fashionable ladies' school in the town as being
removed from 67 Donegal Street to a building in Donegal
Place, with an outlook on the castle and into a fine garden
situated at the ai^le of Castle Street.
Of this brother John we hear very little, save that he
was also engaged as a music-teacher. There may have been
some rivalry with Edward in the musical line, and at the
same time between the school-teaching ladies. At any rate,
Mrs John Bunting, who had been a Miss Ash, with good
local connections, flourished exceedingly. Little medals
awarded at her school have been handed down inscribed
with the names of the grandmothers of present-day citizens.
The granddaughter of Edward Bunting informed the
present writer that her mother never spoke of any uncle
hut Anthony, to whom they were all attached. Uncde John
and his triumphant school-teaching wife may not have been
friendly. We must, however, not stray away in conjecture.
The fact remains that Mrs Chapman had been in Belfast,
removed to Dahlin, and that for the sake of her daughter
Edward uprooted himself from his old familiar surround-
ii^ in the town which he had come to as a child prodigy ;
tiirough her gentle and benign iufiuenoe, moreover, he did
what was more difficult, in breaking away from habits and
modes of life in which he was becoming confirmed.
63
ANNAI5 OF THE IRISH HARPEBS
The Harp Festival had proved the tumuig-poiiit of hia
youth, providing him with an ideal and aim to work for,
and now that the aim was accomplished, and a position of
ease assured, a new atimulus was given by his love for hia
choaeu wife. Succeeding iu winning her hand, a new life
opened up before him. Petrie, who aeems to have received
Bunting's own confidences on this matter, deserves to be
quoted here :
"Hitherto, it should be observed, he had, for a period of
more than forty years been Uvii^ at little cost with the
respectable family of the M'Crackens at Belfast, to whose
house he had been invited when he arrived there at the
age of eleven, 'getting and spendiug' as he pleased, but
certainly not saving. He had now to commence house-
keeping on his own account To begin the world, as we
might almost say, to earn his bread in a new locality
where he was comparatively little known, and where he
would have to contend with the professors of bis art of
high powers and established reputations, and that at an
advanced period of life, when the mind is as indisposed to
form new friendships or associations as the public is to
reciprocate tbem. Tet he was not unsuccessful. Through
the inSuence, chiefly of his northern connections, he soon
got into an extensive practice as a teacher ic the higher
circles, and was appointed orgauist of St Stephen's Chapel,
and thus toiling daily, and without rest, he was enabled to
support a growing faouly in respectability, and had the
happiness to leave them able, if required, by the exercise
of dieir own talents, to provide for themselves."
To the difficulties commented upon by Petrie we may add
the fact that the newly-married couple, elderly husband
and young wife, at first resided with Mrs Chapman.
Bnnting had not known since hia early childhood the
loving rule of a mother. The rule of a mother-in-law would
natnnlly have been all the more irksome, and he was a
man who, by his own avowal, suEfered from irritability of
64
EDWABD BUKHNG— INTRODUCTORY MEMOIR
temper. After a brief experiment the joint hoosekeeping
was abandoned, and Mr and Mrs Edward Bunting removed
from 18 LeesoD Street to a home of their own at 28 Upper
Baggot Street. Later on the; reaided at No. 45, in the
Bome street. An intimate glimpse into the happiness of
his married life ia given ne in a letter written to Mary
M'Crocken, which we may quote apart from the corre-
spondence later on which deals with his pablicatioa work.
It is dated 29th December, 1820, when his heart was still
tender with rejoicing over his first-born child, the only
SOD, little Anthony.
" We cannot live for oorselvea alone and I hope I shall
grow better every day, at least as to those notions of pro-
priety which all sensible folks practise and which I never
did, to my shame be it spokec, till now.
" I for the first time received the Sacrament at Patrick's
Cathedral on Christmas Day with my lady. She seems
happy now to what she did dnring her mother's super-
intendence of the household, in coDseqaence of my altered
behaviour perhaps. My little darling son, she and I take
the neatest delight in. He is grown handsome. All the
people are delighted with him. I intend to be in Belfast on
Thursday per Se.y mail so I shall soon see yon all once more,
hearty and weU. — I am with true afTeotion ever yours
sincerely, K BninurG."
Thus did he open his heart about his home happiness,
and his resolve to try to live in worthiness of it, to the friend
who had been as a sister by his aide since earliest yoath.
Another letter is necessary to this life narrative, as it
allndes to the fact that the links were not all broken with
Belfast as r^ards musical work. He writes again to Mary
M'Craoken :
"I received an unsought letter from the Trustees of
Georges Church (where a new organ price £1000 has been
65 E
ANNAIS OF THE HUSH HABFEBS
pat up lately), to be their organist with a salary of from £90
to £100 a year, for which sitoation above twenty candidatas
started and canvassed the Parish. My appointment is dated
lat December and the duty is twice per week, Wednesday
and Fridays and Sundays also. They would not allow me
a deputy at present so that I could not go to Belfast
to you.
" I am indebted for this place to the Attorney-General,
who sent for me and spoke to me so kindly and friendly,
that I was nearly overpowered with all my old recollec-
tions of the Joy tribe, from your dear, dear, departed
mother, till the present time, they have been an honour
to Ireland from their first introduction into it, aud
friendly beyond my deserts have they been to me one
and all of them since I was twelve years of age, now a
period of 40 years."
The Attorney-General alluded to was Miss M'Cracken's
cousin, Henry Joy, who shared the enthusiasm of his
relatives for Irish music and antiquities. It waa natural
that he should extend a helping hand to Bunting.
St Geoi^e'e Church is a large Georgian building on the
north side of Dublin, near Mountjoy Square, then a very
fashionable quarter, and here we must picture to ourselves
Buntii^ busy on Wednesdays and Fridays and Sundays,
with a good deal of teaching amongst fashionable young
ladies eager to become accomplished pianoforte players.
His allusion to Belfast would lead us to think that
previous to this he went up north at intervals and continued
to give sets of lessons. However, this was now impossible,
as he could not leave a deputy. In Bi^got Street the
darling little son Anthony had two sisters to play with.
With their support as his main object in life, expensive
music publishing schemes were, for the time, unthought of.
Tom Moore, soaring to exalted altitudes in society on the
wings of poetry and song, may have at times given him
twinges of irritable envy. That poet had gone on at
EDWARD BUNTING— INTRODUCTORY MEMOIR
interrals between the years 1807 and 1834, publishing
his sets of Irish melodies np to the tenth, and from Bunting
since 1810 there had come nothing. The volume, whose
advent had been bailed by the Belfast banqueters, was now
almost lost in oblivion.
CHAPTER VIII
EDWAED BUHTINa — AN UTTRODDCTORT MEMOIR — (cOntimud)
Bdstimo, howaver, waa destined to renew hia laboars and to
spend the last yeara of his life in furthering the great aim
which had inspired hia youth.
There was now rising in Ireland a new school of
antiquarian scholars — men who were to achieve great thinga
in the realma of Irish language study, and of historical
research. Amongst them the old musician was accorded
recognition as historian and scribe of the last baipera, as
one who had enquired into the character and antiquity of
Irish music, the origin and development of the instruments.
We are not told how or when Bunting made the acquaint-
ance of John O'Donovan and Qeorge Petrie, but as he was
accustomed to pursue investigations in Trinity Collie and
the Boyal Irish Academy, we may almost with certainty
assume that Whitley Stokes was the connecting link.
This remarkable man lived till the year 1846, and hia
talents and patriotism were renewed in bis descendants, in
hia son Dr William Stokes, and bis grandson and grand-
daughter, Margaret and Whitley Stokes.
The old veteran, Dr MacDonnell, was well in touch with
the new school. In 1834, when John O'Donovan went to
Ulster in connection with the Ordnance Survey at County
Down, be called on Dr MacDonnell in Belfast in order to see
a manuscript journal of the Irish Confederate War of 1641,
by a Friar O'Mellan.
EDWARD BUNTING— INTRODUCTORY MEMOIR
He had prerioualy investigated a copy of it made by a
Mr M'Adam, but as this was somewhat iocorrect, Dr
MacDonnell gladly showed him the original which was Uien
in his keeping, thoogh the property of Lord O'Neill.
O'DoDovan writes: —
"The Doctor has promised me he will write to Lord
O'Neill to whom the copy belongs and request of him to
send it down to Mr Petrie where it will be properly trans-
lated and elncidated. ... I am very anxious to preserve
this fi^iment, as it forms a contionstioD of the ' Annals of
the Four Masters.' "
We may here digress to state that a translation of this
historical document, very fully annotated, is to be found
in that admirable miscellany " Old Belfast ' by R. M. Vonng,
M.B.LA. Amongst the events chronicled in it is the death
of Banting's Rncestor, Patrick Gruamach O'Quinn. He was
killed in an attack of the English forces on Dnngannon in
July 1641, when the Irish were weakened by the absence
of a large part of their army. They had been despatched
by the Commander Phelim O'Neill to Doe Castle in Donegal
to meet and greet the great Owen Roe O'Neill, who was
returning from the Low Counties to take the lead in the
Irish War.
Dr MacDonnell in his letters to Bunting makes several
references to " Dnnnevan," as he spells the name, and once
the third volume of the ancient music is embarked on, is
constant in his advice that this great scholar and others like
him should be referred to.
Writii^ in October 1836, however, the doctor seems to
think that any plan of publication by Bunting is so
indefinitely in the future, that he must not hope to see
it realised. " I am," he writes, "so old and you so indolent."
However, at the date Thursday, 16th August, 1838, we
find a letter from Mr J. Sidebotham, a solioitor of 26 Hatton
ANNALS OF THE IRISH HARPERS
Oaidena, Londoo, from which we leani that Buotdng was
at last prepared to issue his fioal and monumeiital work.
Sidebotham offers his assistance "in superintending the
publication of the proposed works, correcting letter proofs,
etc." on Bunting's terms, and in proportion to whatever the
financial success of the pablication might turn ont He
niges baste.
"Let me entreat you to lose no more time. I am
really alarmed when yon bring to my recollection that
it is twenty-eight years since you and I were so E^reeably
associated together in bringing out the first Volume " (i.e.
that of 1809, really Bunting's second).
He also recalls their visits to Skarrat " the pewter-puncher,
as he calls the engraver of the music plates, and the " glorious
repasts or breakfasts," which they shared.
Mr Sidebotham subsequently engaged the same engraver,
Skarrat, to produce the plates of the new work ; and from
this point we have a constant correspondence amoanting
to scores of letters, from which we can only give typical
selections. The delays, anxieties, impatience of Bunting
are evident from Sidebotham's replies, which, with unfailing
good bumonr and gaiety, still urge him on and keep him
informed of all the doings of the pewter - pnacher, his
excuses on account of other work when payment is delayed,
his grand achievements when ready money is forthcoming,
rushing in with the plates wet.
Bunting gets an idea that Skarrat may pawn the plates
to raise money. Sidebotham relieves this unfounded fear^by
going and looking at them where they are carefully stored.
We learn that the plates were sent to Ireland in parcels
of The lancet, and from a letter of Skarrat (2nd May, 1839)
the following :
"When you let me know how mnch each plate is to
con tain of the Irish character, I will get the estimate and
70
EDWAKD BUKTING— INTEODUCTORY MEMOIB
let 70a have it without delay. ... I muBt learn from a
writing engraver what his charge will be for the Irish
character, &r these I cannot accomplish."
This passage is interesting aa suggesting the mode hj
which it was likely intended to publish the Gaelic poetry
collected by Lynch in 1802. We find among the MSS.
certain of the song words copied in an exquisitely clear
Gaelic script, which an engraver could have copied. The
prospect of expense, or the success of Moore with his songs
in English, or the coldness between Dr MacDonnell, the
M'Grackens and the unlncky Patrick Lynch, prevented
the carrying out of such a design of publication. It would
have ante-dated Hardiman's Minxtrdsy by many years, and
giving words and music together would have eclipsed in
importance that work or any of that character which has
since appeared.
Dp MacBonnell's letters of the same period are extremely
interesting, but can scarcely have given poor Sunting as
much satisfaction as those of his musical friend. The
doctor urged him to extraordinary effort, to leave no stone
unturned, no point uninvestigated, particularly as regards
"the essential differences between the music of different
nations viUh the eautes of those differences," and having
alluded to investigations, which led to Greece, Borne, Egypt,
the Holy Land, he says :
"Sir William Jones has traced something in Persia and
the thread of this ends at Benares in the Sanscrit tongue
where it should undoubtedly be followed by you into Thibet,
and if nothing can be made out there or in China we are at
the end of our tether."
Thibet, the terra-i'tuiogmia, which is only now being
opened np to explorers would seem to have been very much
out of the way of the elderly music master in Upper Baggot
Street, Dublin, but Dr MacDonnell was advising a Ubrary and
71
ANNALS OF THE IRISH HAEPEES
not a geographical exploration, and knew what he was
talking about
Something would seem to have been made out in China,
for a learned reviewer of Bunting's work writing in the
University Magaaine, JannaT7 1841, sa7B:
" The few Chinese Melodies which have been com-
muoicated to the public have a character so aingularly old
Scottish that they might well pass as Melodies of the
Highlnnders of Albtn. Is it accidental, or the result of a
common Scythian origin of the Scotch and the Chinese
or Tartar race?"
In such investigations Dr MacDonnell goaded on Bunting.
In his letters to his old friend Mary M'Cracken, he confidea
all the trouble and weariness that the effort was costing him
and his patient wife. The doctor was moat triumphantly
delighted to find that Mrs Bunting was bo competent, and
that, with her and Anthony to depend on, the work could
Btill go on even if he was " dished and deserted " by Petrie
and Ferguson. Some such catastrophe he seems to have
feared might resolt from Bunting's irritable temper: but
these, his coUaborateurs, were amongst the moat amiable
of men, and genoinely enthusiastic about what they had
undertaken.
Qeorge Petrie, LLD., is described in I>ady Ferguson's life
of her husband as :
" Perhaps most generally known by his researches on the
Bound Towers of Ireland and his essay on Tara HilL His
charming personality, his kindness, his gentleness and refine-
ment endeared him to all who had the privilege of his friend-
ship. It was characteristic of him that among them, be was
ever spoken of as ' dear Petrie.' He was beloved as a
father by the younger men, being their senior by many
years. He loved Ireland and rendered her native music
enchantingly on his violin, but he played only to a sym*
pathetic audience."
72
EDWAED BUNTING— INTRODUCTOBY MEMOIR
Petrie was indeed the disciple and successor of Buotiog
as a collector of Irish aira, and used his violin to capture the
the elusive melodies sung in the cottt^es of Aran Islanders
of Irish-speaking natives of other remote parte of Ireland.
We are informed on the aathority of Dr W. H. Grattao
Flood that he was undoubtedly author of the biographical
article on Bunting in the l^Mvn UwiversUy Magaxiiu,
which we have quoted from so frequently.
He must have been a delightful companion, charming
away with hie conversation and his violin strains, the
irascible moods of bis friend, and giving him his due of
praise and veneration as as incentive to this last work.
Samuel Ferguson, who provided the interesting intro-
ductory article on " The Harp and Bagpipe " and who edited
" The Lives of the Harpers " from O'Neill's diary and other
sources, was at the outset of a distinguished career as poet and
scholar. He was bom in 1810, in the house of his maternal
grandfather, High Street, Belfast, and educated at schools
in that town. It is pleasing to believe that the atmosphere
of historic research and of Irish musical revival, created in
the years succeeding the Harpers' Festival, must have helped
the growth of bis youthful genius. At twenty-two years of
age be made bis mark with a poem "The Forging of the
Anchor," contributed to Blackwood's Magazine, and at
twenty - four, in the Dublin Univertity Magazine, made
certain translations from the Irish, in which be attained
his highest mark as a lyrical poet. He bad also written
his historical tales " Hibernian Nights Entertainment," had
been for some years a member of the Roy»I Irish Academy,
and was called to the Bar in 183S, the very year that
Sidebotbam was arranging for the engravii^ of Banting's
plates.
Amongst his Dublin friends was Henry Joy, a lawyer
already referred to, who had contributed to the learned
" Essay on the Harp " in Bunting's 1809 volume. With
73
ANNALS OF THE IRISH HAEPERS
Di William Stokes, aoc of Whitley Stokes, he waa from Bn
early period of his residence in Dublin on intimate terms.
Like Petrie, he was noted for benign temper, and with
such helpers the way was smoothed for Bunting.
Ferguson took in hand the rugged accnmulatioaa of
Bunting's learned research, the simple and hnmorouB narra-
tive that Blind Harper O'Neill had dictated to Tom Hnghee,
and put all into conciae literary shape That he was reason-
ably proud of hie work for Banting is proved by the fact
that when in May 1848 he became engi^ed to Mary, the
daughter of Robert Guinness of Stillorgan, his first gift
to his betrothed was a volume of the ancient music.
But to retoTQ to Bunting's preparations for it.
Just when it was the eve of publication there was a visit
to Belfast, where his two daughters accompanied him. We
learn this from a little note from his wife, scribbled on one
of Sidebotham's letters, in which she announces the arrival
of proofs, rejoices that the end is now in view, and sends her
love to "my dear girls."
They were now growing up, bright attractive girls in
their teens, and it was likely on the occasion of this visit
that Sarah Bunting won the affection of her future husband,
Mr MacRory.
They stayed at the house of Francis M'Cracken, the
bachelor of tiie family for whom Mary kept house. During
the visit Dr MacDonnell wrote frequent little notes which
would lead us to believe that he was detained in the house
through ill-health or much occupation. He got the loan of
Lynch's Jmvmid, which he had never read before, and invited
Banting and the ladies to meet Sam Ferguson. Finally,
when Bunting went away he left behind on his dressing-
table two little slips of paper (careless man) which contained
a Scotch version of the lamentation of "Cardrae," and the
doctor sent it after him, reminding him of the occasion
on which he had taken it down many long years ago.
V4
EDWARD BUNTING— INTKODUCTOKY MEMOIR
Bat amidst the papers relatii^ to this period, nothii^
is more touchii^ than the tone of the letters in which he
tmburdeoB bis heart to bis old friend, Mary M'Cracken,
and confides the foreboding that he may never live to see
the work finished, and bis doubts (only too truly realised)
that bis family would not gain financially by all the labour.
Death was indeed approaching, and doubtless be had felt
some warnings of the fact, but a few short years remained
which were to see hia last work launched amid a chorus
of approbation from all discerning critics.
CHAPTER IX
EDWARD BUNnNG — AN IMTBODUCTORT MEMOIR — (cOTtdvded)
Thi 1840 volame of The Ancimt Music of Ireland was,
as we have seen, briefljr described hj Thomas Moore as " a
mess of trash." This rash judgment has most nnfortunatelj
foand acceptance in some quarters, and is quoted, for example,
in the accoant of Edward Bnnting given in the admirable
" Compendimu of Irish Biography," by the late Alfred
Webb.
It is most regrettable and amazing that the poet, whose
name and fame is associated bo intimately with Irish music,
should have shown so little appreciation of this monumental
work, in which the result of the life-long labours of Bunting
are chronicled and illumined by the discerning gracefnlly-
written essays of George Petrie and Samuel Ferguson.
At a meeting of the Irish Folk -Song Society, held in
Dublin in the autumn of 1908, and presided over by its
president. Lord Sbaftesbary, the relatives and descendants
of Edward Bunting were present, and had the pleasure of
listening to a learned diecossion on the characteriatics of
Irish music between Eev. Professor Bewerunge of Maynooth
and Mr Brendan Rogers, the latter in referring to the
methods and style of the Irish harpers, paid tribnte to
the absolutely faithful record preserved by Edward Bunting.
His object was not to attain instant popolarity by a display
of his own talents, but, to quote the words of Mr Henry Joy,
76
EDWABD BUNTING— INTEODUCTOEY MEMOIR
one of his earlier coIlaboratoTa "to restore a page of the
hiBtory of mankind."
The contents of the volume maj be briefly summarised.
There ia first a preface dealing with the sources from which
he gleaned the music, the Harpers' Festival, his visits to
old Hempson of Mi^ligan, his journeys ^trough the
country.
" While forming these collections," he writes, " the Editor
had an opportunity of rendering himself thoroughly
acquainted with the genius and habits of the old people
of the country. Hia plan would have been imperfect bad
he not resorted to the artless modulations of the aged
heads of families, and of females taught by their parents
to sing to children on the breast, or at the milking of the
cow. In these excursions, especially in the remote parts
of Tyrone and Berry in Ulster, and of Sligo and Mayo in
Connaught, he has had the satisfaction of procuring old
music and experiencing ancient hospitality, at the same
time, among people of manners so primitive and sincere
as could leave no doubt on any mind of the perfect genuine-
ness of everything about them. Had he gained nothing
else on these occasiona but a knowledge of the worth and
warm heartedness of bis poor countrymen, a knowledge
so little sought after by those who might turn it to the
best account, he would have been well repaid for all his
toil. But his acquaintance with the humours and dis-
positions of the people, has, he conceives, enabled him to
preserve with a fidelity unattainable to any stranger, how-
ever sincere and honest in his notation, the pure, racy,
old style and sentiment of every bar and note in his
collection,"
There follows a learned disquisition on the characteristics
of Irish melody, and the second chapter deals with the
method of playing and musical vocabulary of the old Irish
harpers, liiis includes, what should be of extraordinary
interest to Gaelic students — a complete vocabulary in the
77
AKNALS OF THE IBISH HARPERS
Irish language with translation, of everything connected with
the instrument. I^e vocabulaiy is an exhaustive one of
several hundred words.
The third chapter by Samuel Fe^uson, M.RI.A., on the
antiquity of the "Harp and B^pipe" is prefoced by a superb
plate of the old harp in Trinity College, JDublia, usually
spoken of as Brian Borou's. A learned enqairy into the
origin of this harp by George Fetrie, follows with further
full page illustrations. There is then given a history of
the varioQS efibrts to revive the Irish harp, and extracts
from the lives of the harpers, largely drawn from the
O'Neill "Autobiography," and introducing incidentally Samael
Ferguson's translations from the Qaelic " Farewell to Alba,"
and the "Lament for the Sons of Usneach."
A classification and hiatory of the airs incladed in the
volume follows, which goes far to prove the great antiquity
of some of them, distinguishing these whose origin is
obscured in the mist of ages from others attributed to bards
whose names live in history, which again are separated from
the modem compositions of Carolan.
The Irish names of the hundred and fifty melodies are
next given, in Irish character, parallel with an equivalent
in Roman type, and in English translation.
An index giving the English title and source of every
air published, whether recorded from the harpers or taken
down from a rural singer, with the date of the year in
which it was recorded.
The Irish cry ot caoine, for example, was taken from
three separate sources, from "O'Neill, the Harper," from
" Hired Keeners at Armagh," and from a " Manuscript over
a Hundred Tears Old."
A solid foundation of scientific research was therefore
laid for all who came after.
It is satisfactory to know that the importance of the
work was realised in certain quarteia
78
EDWARD BUNTING— INTEODUCTOEY MEMOIR
The Athenctum, Literary Oaxette, and Tait's Maganne
published highly appreciative notices, and in Septembei
1840 Boating wrote to bis daughter Sarah (afterwards Mrs
MacBory) when on a visit to Belfast, to go to Dr MacDonnell
and borrow Chami>er's Edinburgh Journal, with a long paper
in it about a yonog man who wrote down Irish tones in
1792. This was written by Robert CbamberB,^ himself a
collector of old Scottish foU[-songs, so the appreciation was
all the more welcome.
"We close with regret Mr Bunting's volome because we
believe that with it we take leave of the genoine Music of
Ireland. It most not be r^arded as a Musical publication
alone, but as a National Work of the deepest antiquarian
and historical interest. Were we to institote a literaiy
comparison, we could say that Moore's Iriah Melodic had
about them all the fascination of poetry and romance,
Bunting's collections all the sterner charms of truth and
bistory. When we hear Sir John Stevenson's Irigh. Melodies
played by a young lady on the pianoforte, or even on the
pedal harp, we do not hear the same music, which O'Cahan,
Carolan and Hempson played. It is as much altered as
Homer in Uie translation of Pope. For the true present-
ment of this mosic to modem ears we require the old seta
as preserved in the volumes of Bunting and ' The Irish
Harp' played by an Irish harper."
The anonymous aothor (whom we have seen to be Greorge
Petrie) wrote in his biographical article in Bunting 1847 :
" Of the aocoess of this work as a pecuniary speculation
we are not in a position to speak. We believe, however,
that its sale, though not equal to its deserts has not been
1 Hn AliM C. Bantaa, dangkUr of Bob«rt Chunban, writM: "Uy
father vru m enthnsiutio lortr at music, uid in; MrliMt TBCoIlMtioaa vn
danisiiig with mj liBtm rooiid the room, while my fathsr plsjed the Ante
meeomp«ni«d on th« pi&no by my mother, who wu alto oelebnted for her
taite in modo. Ws were brought up on the old Soottiah 101121, and nanerj
jingles, and my lather made a collection of them, which he pnblicbed for
printe eiranlatioD, 04ll«d ScUtith Sengtpricr tc Burtu,"
79
ANNALS OF THE lEISH HAEPEKS
incoondenble . . . but it was not for such reward that
Banting toiled, sod its publication was, for the very few
yeara which he survived it, not only a matter of the greatest
happiness and coiuolatioa to him, but it excited liim to
devote the leisure of those years to the re-arrangement of
the old airs and to terminate his laboars by leaving behind
him a complete uniform and he tmste very nearly perfect
colleotioQ of Irish music. And thus with the ruling passion
strong in death, he departed thia life, as we trust for a
better on the 21st December, 1843, aged 70 and was
interred in the Cemetery of Mount Jerome."
It may be added that Bunting's deaUi occurred vety
suddenly, the weariness of which he complained in his
letters to his life-long friend, Mary M'Cracken, was a fore-
warning of heart failure, which overtook him on that
December night, when, taking his bedroom candle in hand,
he was about to go upstairs and retire to rest. Overcome
with faintness, he was obliged to seat himself on the staiis,
and there suddenly expired.
Petrie concludes with a description of his appearance
and an appreciation of bis character, valuable as coming
from such a source.
" Edward Bunting was in size above the middle stature
and he was strongly made and well-proportioned. His
somewhat English face was also symmetrical and its ex-
pression manly and independent, roll of intelligence and
character, and must in youth have been eminently hand-
some. And though his manners might be found fault with
as occasionally rough and unpolished, in appearance at least
he was always the gentleman." (Note Petrie's impression
of the characteristic Northern bluffness, acquired by Bunting
in Belfast) " His mental qualities were naturally of a higher
order and remarkably extensive, for though they had never
received cnltare, or been applied in a systematic way to any
study but that of his art, there were few departments of
knowledge, in which he did not take an interest and learn
something. He had a fine perception of, and an enthusiastic
EDWARD BUNTING— INTRODUCTORY MEMOIR
love for, the beauties of Nature, and a high appreciation of
the charms of Poetry and of all the fine Arts, though in
lOOBt of them his subject was circumBcribed. In short, he
vaa in everything a lover of beauty, and it was this seuti-
ment that enabled him to appreciate so truly, and free
from professional prejudice, the excellence of oar Native
music, and that marked his own musical performance with
a charm which the more powerful and brilliant execution
of great instrumentalists could hardly equal.
"Strang in his attachments, he was an affectionate
husband, father, brother, and friend ; but as his temper
had been spoiled by indulgence and want of control in
early life, it was sometimes necessary for his friends to bear
a little with this infirmity, which, however, to those he
loved, was never more than a passing cloud upon the sun-
shice of his genial nature, and hence bis friends were not
numerous. But that he was susceptible of the warmrat and
most lasting attachments is abundantly proved by the fact
of his residence in friendship with the M'Oracken family for
a period of forty years, and that that friendship was never
broken or interrupted till his death, twenty years after.
Let us also add his attachment to ourselvea, which, though
not of so very long a standing, could hardly have been of a
kindlier nature."
Thna writes Petrie, a man who had done mach to
brighten Bunting's last years, and who followed in his
steps as a collector of Irish traditional music
Bunting's elder brother, Anthony, survived him for some
years, and, having been left childless by the death of his
only daughter Snsan, was of great assistance to the widow
and orphan family.
Edward's only son, called after this kind uncle, Anthony,
was a young man of brilliant promise, articled to a great
engineer MacNeUl, who built the Drogheda Viaduct.
From a letter of Sidebotham's, written in 1840, we learn
that even then yoong Anthony had embarked in hia career.
The London lawyer had been asked to send him certain
81 F
ANNALS OF THE IRISH HARPERS
acieotiQc inatrumeuts addressed to Aathoay Buating, I<ough
Swilly (DoD^al), wbioh is "a queer address," writes
Sidebotbam, "except there be a town of that name as
well as an arm of the sea."
This young man was in a position to support his mother
and sisters, but was unfortunately cut off bj death in the
prime of youth and promise.
An effort to have the name of Mrs Banting placed upon
the civil pension list, in recognition of her husband's
research work, was of no avail, though a great rally of
admirers of his genius forwarded the application; but a
happy and comfortable home was provided before long for
the wife who had sustained the last labours of Banting, and
who had taken a heavy share in them.
Her daughters are described in a letter of Mr Orr's, a
Belfast man resident in Dublin, ae having been very good-
looking and charming.
The elder, Sarah, married Mr MacRory, a member of a
well-to-do Belfast family. He resided in Rutland Square,
Dublin, and there Mrs Bunting lived till her death some
years later. Before she passed away she had the happiness
to see her other daughter, Mary, married to Mr Wright.
The descendants of these families it is who, inheriting the
papers of Edward Bunting, placed them in the hands of the
present writer. It may be said in conclusion, that his love
of Irish music has also come down as a heritage to the
fourth generation.
CHAPTEK X
THE tIARP IN AHOIENT IRELAND
To appreciate the character and importasce of the muBic
of the harpers, prefaced and published by Bunting, it is
necessary to understand the place which the harp took in
the social life of Ireland for a very lengthened period.
Id his 1809 and 1840 volumes, Bunting gave a great deal
of apace to learned articles dealing with the history of the
iDstrument as known to other races and nations. The
opinions of scholars, historians, poets, and travellers in
different ages are quoted to show that Irish mnaicians were
at all times acknowlet^ed to be supreme as harpers. The
most coDvincii^ quotation is from Qiraldus Cambrensis,
who accompanied the early Xorman invaders to Ireland and
wrote an account of the country, with the express object
of proving its barbarity and need of a civilising and
Gbristianising influence.
But even this hostile critic could not find language too
complimentary to express hia opinion of the Irish hupers,
and in Bunting's 1809 volnme he is quoted in translation
as follows : —
" The atteotioD of this people to musical instrumeDts I
find worthy of commeDdatioD. Their skill is beyond com-
parison superior to that of any nation I have seen. For in
these the modulation is not alow and solemn, as in the
instruments of Britain to which we are accustomed, but the
Bounds are rapid and precipitate, yet at the same time sweet
S3
ANNALS OF THE IRISH HAEPEES
and pleoBii^. It is wonderful how in anch precipitate
rapidity of the fingers, the muBtcal proportions are pre-
served, and, hy their art, faultless throughout. In the midst
of their complicated modulations and most intricate arrange-
ment of notes, by a rapidity bo sweet, a regularity so
irregular, a concord so discordant, the Melody ia rendered
harmonious and perfect whether the chords of the diatessaiwi
(the fourth) or diapenie (the fifth) are struck together ; yet
they always b^n in a soft mood and end ia the same, that
all may be perfected in the sweetness of delicious sounds.
They enter on, and again leave their modulations witii so
much subtlety; and the twinklings of the small strings
sport with BO much freedom under the deep notes of the
bass, delight with so much delicacy and soothe so softly that
the excellency of their art aeems to lie in concealing it."
To this is added in Bnnting's preface :
"This description so perfectly answers to the airs now
published, that it strengthens the conclusion thst they
have not suffered in the descent, but have come down to
us in the veiy forms in which we wish now to transmit
them to those who shall succeed ua"
An Italian historian of music, Vincentio Galilei, in
a work printed at Florence in 1581, is also quoted as
saying:
"This most ancient instrument was brought to us from
Ireland " (as Danto says), " where they are excellently made
and in great numbers, the inhabitants of that island having
practised on it for many many ages. , . . The Harps which
this people use are considerably larger than ours and have
generally the strings of brass, and a few of steel for the
highest notes, as in the Clavichord. The musiciauB who
perform on it keep the nails of their fingers long, forming
them with care in the shape of the quills which strike the
strings of the spinnet."
More entiiueiastic even than these opinions of foreigners
THE HARP IN ANCIENT IRELAND
ue th« allaaioDS of t^nciflot Irish poets, chroniclen and
tale-writets, to the beauty of music, and its effect upon its
hearers.
The subject is very fully dealt with in Eugene O'Curry's
work on the " Manners and Castoms of the Ancient Irish."
Dr W. H. G-rattan Flood's " History of Irish Music " abounds
in quotations and testimonies.
The musical skill of the Irish, as exhibited on the harp
in particular, is, moreover, acknowledged in the fact that the
harp has come to be the heraldic emblem of Ireland, and
that its outline was stamped on our coinage by the English
aovereigna from the time of Henry YIII. till the union ;
some say that in a rude form it appeared from the time
of King John.
Urchins playing pitch - and • toss in our streets, still
demand before spinning the coin, " Head or harp," Britannia
with her trident now appears on the reverse, but all the
same, the memory of the harp that was in use so loi^
still lingers.
Before coming to the memoirs of the last harpers, and
the record of their gathering at Belfast, let us restore clearly
in oui minds the historical figures of the ancient harpers of
Ireland. Eugene O'Curry in his lectures on the "Manners and
Castoms of the Ancient Irish," relates this anecdote, which
is embodied in a tale and poem attributed to MacLiag,
a famous poet of the tenth century, who was attached to
the Court of the great King Brian Borou. It illustrates
the fact that the harper was distinct from the poet, and
frequently in attendance on the latter.
On one occasion MacLiag was travelling from Lough
Biach, in County Oalway, to visit £iQg Brian at his palace
of Kincora on the Shannon. He was attended by his usual
retinue of learned men and pupils and by Ilbrechtach,
a harper, who had previonsly been harper to Flann
MacLonan, predecessor of Maclisp, as poet Ut King Brian's
ANNALS OF THE IRISH HARPERS
tribe of the Dal-Cais, The path of this procession lay over
the high and dreaiy range of mountains called Sliabh Echtge,
separating the counties of Galway and Clare. As they sat
to rest on the side of Ceana Crochan, oue of the hills of
the range, MacLiag looked out over the prospect and said :
" Many a hill and lake and fastuess is iu this district, and
it would take great learning to know them all."
To this Ilbrechtach, the harper, said : " If it were Flann
MacLouan that were here, he could name them all and
give the origin of their names besides."
" Let this fellow be taken and hanged," said MacLiag.
The harper begged a respite till next morning, and he
was granted it. When morning came they saw the form
of his dead master, MacLonan, approaching, who pleaded
with MacLiag, saying that he would relate the names
and origin of every notable place in the mountain range,
if the life of the condemned harper was spared.
Hia request was granted, whereupon he recited a poem
of one hundred and thirty-two lines, commencing:
" Delightful, delightful lofty Echtge."
and followed by the history of the mountains, the warriors
and tribes, who had made it their hunting ground including
the famous Finn MacCumhaill and his band. Giving
the names of peaks, lakes, rivers, fords, woods, he concluded
with a eulogy of the Dalcaseians of Clare. The poem goes
on as if composed by the ghost of MacLonain, describii^
how he had been killed by a party of robbers.
O'Curry cannot decide whether MacLiag thus recited
and introduced a poem by MacLonan, or whether the
the whole composition was bis own.
I cannot help thinking that we have here an example of
a primitive drama, which was recited in the palace of
Kincora. The story of the quarrel with the harper, through
jealousy of his former master, his condemnation to death,
THE HARP IN ANCIENT IRELAND
his deliverance by the appearance of the dead poet's ghost,
and the recital of the poem which ingeniously led up to
praise of King Brian's royal clan, all give scope for a
dramatic recital in which different parts could be taken
by the mombera of the bardic suite. If the poetical part
was the work of MacLonan, MacLiag all the same would
have won applause for his artistic skill in introducii^ the
descriptive poem by the dead bard, who had been high
in favour with King Brian's father, and who would be
lovingly remembered by the old men present.
Such dramatic dialc^ea iu verse frequently break the
course of the old historical narratives. " The History of the
Wars of the Gael and GdM " describing the course of events
that led up to the battle of Clontarf, contains several,
notably a disputation between Brian and his elder brother,
Mabon, who was King before him. Mahon had made peace
with the Danish invaders, bat Brian, with a band of followers,
waged unceasing war against them. At last he arrived in
the presence of his royal brother, and their conversation is
related in verse, Mahon b^inniug :
" Alone art thou, O Brian at Banba
Thy warfare was not without valour
Not numerona hast thoa come to our house
Where has thou left thy followers ?"
And Brian answers :
" I have left them with the foreigners,
After having been cut down, Uathgamhain,
la hardship they fallowed me over every plain,
Not the same as thy people."
And SO he continues describing his warfare against the
Danes and reproaching Mahon for his complacence.
Such dialogue passages were without doubt recited in
dramatic style, possibly chanted, to the accompaniment of
the harp, in the manner of the Welsh FenhyUion chanting
87
ANNALS OF THE IBISH HASFESS
Otherwisa for what purpose was the harper associated with
the bardic suite? Not merely, I would coDclade, u
iQBtnunentalist, thongh he would be frequently called on to
render straiuB of maeic, whilst even the bards of the
company sat silent and entranced. And now comes my
point of argument, for I have not been digressing far in
thought from the harpers' festival, where Bunting gathered
his great store of ancient melody.
Many of the bardic lays have come down to us, of
indisputable authority in regard to their authora and period
of composition, O'Curry mentions and quotes from over a
dozen poems of MacLiag, this bard of King Brian Boron who
died in 1015, and several by his predecessor MacLonao.
Half a dozen other bards of the ninth and tenth century
could be mentioned, whose personality is as well authenticated
as that of the Elizabethan dramatists, and whose works have
come down to us.
If the store of lyrical poetry has been preserved for over
a thousand years, what of the harp airs, which accompanied
them, and which won for Ireland the fame of supremacy in
music ? If the words of MacLonan and MacLiag survived,
is it too daring to suggest that the strains played by
nbrechtach, the harper, stiU vibrate upon the winds of the
world ? Of the composers of the music played at Belfast,
the names have only in a few instances been rescued.
" Very ancient, composer nnknown." " Bemarkable, old."
Such are the notes aSized to a large majority, fieference
to the " Autobit^raphy " of Arthur O'Keill, now first published
will show how far tradition and hearsay went.
Carolan, the modernist, poet, composer, and harper, was
nniversally admired and fresh in the memory of all
The name of Thomas Connellau, bom about 1640, was still
associated with bis compositions " The Dawning of the Bay,"
" Golden Star," " The Breach of Aughrim," " Molly St
Qeorge," " Bonny Jean," and his younger brother William
THE HARP IN ANCIENT IRELAND
CoDnellaQ got credit for "Lady IveBgh," "Saebh Kelly,"
"Molly M'Alpine." Cornelias Lyons, a contemporary of
Carolan, was known aa arranger of variationa in modem
style of such ancient aire as " Eileen Aroon." " The Coolin."
Tradition was hazy as to which of two harpers Marphy
had composed the fine song " Lord Mayo," and the figure
of Rory Dall O'Cahan, harper to Hugh O'Neill, was gathering
about it a fog of uncertainty.
"Whatever was to be gleaned from tradition through the
oldest harpers living Bunting set down for futurity.
Eugene O'Curry's investigations are worthy of extended
repetition. He quotes an eight -line poem by Cormac
MacCuilennain, King and Bishop of Caahel, who died in the
year 903, which sing to an old air, now popularly known by
the title " For Ireland I would not tell who she is," and adds
" I cannot say that these particular verses were written to
that particolar air. I adduce it only ae an interesting fact,
that a fragment of a lyric poem ascribed to a writer of the
ninth century and actually preserved in an MS. book, so old
as the year 1150, presents a peculiar structure of rhythm
exactly corresponding with that of certain ancient Irish
musical compositions, still popular and well known, though
traditionally aa of the highest antiquity, one of which is the
air I have named. , . . Many such instances could be
adduced of ancient lyric music still in existence in minutely
exact agreement with forms of lyric poetry peculiar to the
most ancient periods of our native literature."
He then goes on to refer to the four-lined Ossianic lays,
of which a great number have been preserved and published.
He had frequently heard his father sing these, and before the
time of his birth there had lived in his native place — in
County Clare — a school-master, Anthony O'Brien, who was
famous for hia knowledge of the Ossianic chants. It was
this man's custom to row out into the bosom of the Shannon
in a boat with some companions, whilst the labourers from
the fields on either shore flocked down to listen. O'Curry
ANNALS OF THE IRISH HARPERS
assumes that the air to which the lays were sung, had been
associated with the poetry since the time of its composition.
He then refers to the " Book of Ballymote," compiled from
older books in the year 1391, and containing a tract on
versification giving specimens of all the poetic measures,
known to, or practised by the ancient Irish. From these he
selects three of the lai^eet and most complicated kind of
verse. The first with a stanza of sixteen lines of an intricate
character fits admirably to an air known as " Buachaill Cael
dubb," or " Black Slender Boy." A second of eight lines goes
to the air " Sean o Dwyer an Gleanna," and to this same air
can be chanted the dialogue between Queen Meave and the
Champion Ferdia, in the old Red Branch epic tale of the
Tain bo CvaUgne. The same subject is touched on and
illustrated in a form more readily appreciated by the general
reader, in Dr Sigerson's splendid volume. Bards of the Oael
and Gall. This book consists of specimen translations from
Irish poetry, from the most ancient times till the end of the
eighteenth century, in which the metre of the originals is
marvellously preserved and the peculiarities of Gaelic verse
construction are illustrated. In his introduction he writes
of the poets of Ireland :
"Their artistic skill which enabled them to produce such
admirable efTects, in gold, silver and bronze work, and later
in illuminations, was most fully displayed in the art of
versification.
" They made it the most refined and delicate instrument
of artistic structure, which the ingenuity of human intelli-
gence could invent to charm without fatiguing the ear, by
the modulation of sound. They avoided in Gaelic the tinkle
of repeated words regularly recurring at the ends of lines.
They had echoes and half echoes of broad and slight vowels,
and of consonants, diEFerentiated into classes so that it was
not necessary even to repeat the same letter, and these
echoing sounds, now full, now slender, rising, falling,
replying, swelling, dying, like the echoes at Killamey — came
THE HAKP TN ANCIENT IRELAND
at varied intervals, not merely at the close, bat within and
between the lines. They constitute Word Music"
And to this "Word Music" of the bards surely the
Btring music of the harp kept rhyme and time, echoing,
rising, falling with the intricate metre. And the race which
treasured the poet's words for a thousand years, would ae
fondly preserve the marvellous melodies.
When the Belfast harpers faltered in their answers regard-
ing the airs they played, and could not attribute them to the
Connellans or Rory Dall himself, we may be sure they had
come down from " beyond the mist of years."
Dr Grattan Flood in writing his " History of Irish Music,"
explored the old annals to some purpose and found notes in
every century of famous harpers and makers of melody.
Thus in 1357 the death is recorded of " Donlevy O'Carroll,
an excellent musician and a noble master of melody, the
person that was best in his own art in Ireland," and in
1361 died " Magrath O'Finn, Chief Professor of Siol Murray
in music and minstrelsy."
The fame of Canol ODaly, composer of " Eileen Aroon,"
is rescued from oblivion by the romance of his courtship
by song of the lady of his heart. He died in 1405. " The
Song of Blooming Deirdre " was composed in 1409 for the
marriage of the sixth Earl of Desmond.
The air which Moore has made known in hie " Rich and
Rare Were the Gems She wore," is an old Irish one, to a
song abont " The Coming of Summer." It was copied and
preserved by a Benedictine Monk of Reading about 1230.
Bunting recovered it from the singing of a Father
O'Donnell, a priest in Belfast, and it was played for him
by Hempson on the harp.
The investigation of the age of the music, is a subject
that opens up wonderful possibilities. O'Cnny's and Di
Sigerson's method of matching ancient metres with ancient
91
AKNALS OF THE IRISH HARFEKS
melodies is one that might profitabl7 be pnisued hy the
Gaelic revivalists in Ireland ; for as yon shall see when
we come to consider the G«elic folk - songs collected by
Bunting, many of the noblest, most heart-moving of these
melodies, have been degraded by association with unworthy
lyrics.
This will be a proper place to introduce Bunting's con-
clusiona with r^ard to the peculiar characteristics of Irish
music, as he held that its peculiar excellcnco arose from
the fact that the harp was the instniment most practised
and honoured, from a very early date.
The 1840 volume published as The Ancient Music of
Ireland has in the first chapter an account of the charac-
terietics of Irish melody which we quote in full as follows : —
" Irish Melodies may be distinguished as to their minor
characteristics, into two classes, those namely which are
marked by the omission of the fourth and seventh tones
of the diatonic scale or one of them, such ae the air of
'An Cbuaichin Mhaiseach' ('Bonny Cuckoo'), and those
which, although also quite Irish in their structure, are
not so characteristic, such as the air of 'Ciste no Stor'
('CoEfers nor stores').
" These subordinate distinctions have been often observed,
and arguments derogatory to the antiquity of our best music
have been very confidently advanced on their authority, for it
has been urged the only assignable characteristics of genuine
Irish melody being those of omission, we must refer the
more elaborate class of airs, in which such omissions do
not occur, to a less National and more modernised school.
Having tJiUB assumed that the airs of the first class are
the more ancient, and seeing that such performances are
more likely to have drawn their origin from a defective
instrument, such as the ancient bagpipe which was incapable
of properly producing either of the omitted tones, these
reasoners go on to argue in like manner against the antiquity
of the Iric^ harp ; for, say they, if the tunes proper to the
pipes or to the siX'Stringed Cruit, be older than those which
92
THE HAKP IN ANCIENT IRELAND
can only be performed on the harp, we maet of necessity
conclude that the latter inatrument is of proportionately
more recent introdaction here than the former; and thns
both the antiquity of our national inatmment and the
genoineaesB of those airs of which it is so peculiarly worthy
are impugned on common grounds.
"These conclusions, gratifying as they may be to nations
which have no genuine music of their owu to boast of, spring
from the fundamental error of considering the omiesion
of the tones of the fourth and seventh to be the grand
characteristic which really makes all Irish melody, and which
truly distinguishes it from that of other countries. Now
the fact is that these omissions are not the true tokens of
our ancient and National Music. They occur in some airs,
not in all ; and yet all are equally characteristic, all equally
Irish, and some marked by the uniform presence of both
these tones are the most Irish and the most ancient of all.
The feature which in truth distinguishes all Irish melody,
whether proper to the defective bagpipe or suited to the
perfect harp, is not the negative omission, bat the positive
and emphatic presena of a particular tone ; and this tone is
that of the sub-mediant, or major sixth ; in other words
the tone of E in the scale of G. This it is that stamps the
true Scotic character (for we Irish are the original Scoti)
on every bar of the air in which it occurs so that the
moment this tone is heard we exclaim 'That is an Irish
melody.'
" If ever the symmetrical relation of musical vibrations
should be determined, and a great step has already been
taken in that direction by the inventor of the Kaleidophone
(an inttrummt dmgned to make tovmd mbratiotu produce
vitible forms), we may expect to find some exact mode of
accounting physically for this phenomenon ; but in the
present state of mufflcal science, we are unable to do more
than assert the fact, that peculiar and deeply delightful
sensations attend the intonation of this chord when struck
in a sequence of musical sounds, sensations which thrill
every ear, and may truly be said to touch the ' loading
sinews' of the Irish heart
"There are many hundred genuine Irish airs, some of
93
ANNALS OF THE IRISH HARPERS
tbem defective id the fourth and seventh, some sapplying
the place of the latter bj a fist seventh, and otherB, again,
perfect in all their diatonic intervals; yet let even an
IsdifTerent ear catch the strain of any one of them, whether
performed by the best orchestra or by the meanest street
musician, and it will at once feel thrilled by this searching
tone of the emphatic major sixth, and in that touching
and tingling Bensstion will rect^ise the proper voice of
the Land of Sone.
" The Irish atmool of Music is, therefore, not a echool of
omiseiona and affected deficiencies drawing ite examples
from the tone of a barbarian bagpipe, but a school of sweet
and perfect harmony, proper to a harp of many strings and
suited to its intricate and florid character to cultivated ears
and civilized assemblies."
Having illustrated this theory by two selected airs,
"What is That to Him?" and "Kitty Tyrrel," he
proceeds:
" Such, in the Editor's opinion, is the grand characteristic
of Irish melody, a characteristic which pervades alike the
defective class of song and pipe tunes, such as the first in
the above examples and the perfect harp lessons represented
by the latter.
" Independently of these particular features, Irish Melody
haa also its own peculiarity of structure and arrangement,
bat this is more observable in the very old class of airs.
These airs are for the most part in a major key and in
triple time: the modulation of the first part of the melody
may be said to consist of the common cadence ; the second
part is generally an octave higher than the first ; it begins
with the chord of the tonic and proceeds to the dominant,
with its major concord; it then returns to the tonic from
which it progresses to the tone of the suh-mediant with the
major harmony of the sub-dominant, or to the sub-mediant
with its minor concord ; but the harmony of this peculiar
note is most frequently accompanied by the major concord
of the sub-dominant ; the conclusion of the air ia generally
a repetition of the Srst part of the tune, with a little varia-
94
THE HARP IN ANCIENT IRELAND
tion. This constitutes the structure and modulation of
three-fourths of our song and harp airs, and the main
features of such an arrangement — namely, their being
principally in a major key and triple time, the rise of an
octare in the second part and the repetition of the first
part at the conclusion with the modulation as above, are
markedly observable in the composition of our most ancient
melodies. Various harmonies dependent on the taste or
science of the musician might be adapted to these old airs,
but it is presumed the above will be found the most correct
and suitable. The most ancient, it may be observed, will
be found more easily harmonised than those of a more
modern date, a ceitain indication of the purity of their
structure.
" It will be observed that the tones of the dominant
and sub-dominant, with their corresponding concords and
modulations above described, agree in a remarkable manner
with the diapvnte and diaiesseron of Cambrensis. Would
it then be too much to surmise that that writer was himself
acquainted with these peculiarities in the structure of Irish
melody which have so long eluded the search of modem
musicians, and that the famous account of Irish music in
the twelfth century, which he has given us, is actually a
scientific description of the modulation of a genuine Irish
tune as preserved to the present day?
" Irish song music being thus carefully adjusted to one
standard of arrangement, a conjecture may be hazarded as
to the character of the original melody on which the whole
school has been founded.
" The Youm^ Man's Dream and the air of ' The Green
Woods of Truaoha ' might be suggested as answering more
nearly to the Editor's conception of such a standard than
any others with which he is acquainted. The latter melody
is of great antiquity, as is proved both by its structure, and
by the fact of its being known by so many diCFerent names
in different parts of the country. Thus it is known in
Ulster as 'The Green Woods of Truagha,' in Leinster as
' Edmund of the Hill,' in Connaught as ' Colonel O'Gara,'
and in Munster as ' More no Bc^,' with a variety of other
aliases."
95
ANNAI^ OF THB IBISH HA£PESS
Examples of soogs then follow Bad he cooclndea :
" These specimena may be coosidered as the skeletons
of most of our song airs. But it voald be impossible to
assign anj similar model for harp tunes which are strongly
resembling the vigorous productions of the modem Oennan
school, but which from the predominance of the major sixth
or sub-mediant with its suitable harmony still sound equally
Irish with the most characteristic of the defective class.
" From these considerations, grounded on the structure
of the airs themselves, we may conclude that the com-
parative antiquity of the two classes of airs (both being
now proved equally genuine) may be determined by the
comparative antiquity of the instruments to which they
are adapted, and if, as shall presently appear, the harp and
the b^pipe be both found to be of immemorial use in
Ireland, we shall be entitled to claim for the ancient Irish
school of Music the credit of a very elaborate, artful and
refined style of composition."
CHAPTER XI
THE HARP nSTIVAL OP 1792. 008TKKF0HABT DOOUUENTS
iXm DBSCKIPTIOKS
Havinq gives a general anrvej of the life of Edward
BuDtiog, it remaias for as to enter into a detailed acconnt
with regard to his work and achievement, in preserving a
faithful record of The AtwieTit Music of Irefand. It will be
seen, that he worked on lines of strict archaeological research.
Bought as far as possible to ascertain the antiquitj of the
musical forms and instruments, and that, beyond any worker
in the same sphere, before or since, he has maintained the
links uniting our national music with the native language.
The circular issued a few months previous to the Harp
Festival, namely, at the end of the year 1791, for the purpose
of soliciting funda, gives us in brief an insight into the
minds of the oi^nisers of that historic gathering.
It has been reprinted in Sonting's 1840 volume, but one
of the original circulars, yellowed with age, lies before ua as
we write, and seems to bring as into intimate toaoh with the
enthusiasts who drafted, issued and dispersed them amongst
the welUto-do and enlightened men of town and country,
from whom financial support waa expected.
"BbltaST, Dteeviier 1791.
" Some inhabitants of Belfast, feeling themselves interested
in everything which relates to the honour, as well as the
prosperity of their country, propose to open a subscription,
vhich they intend to apply in attempting to revive and
perpetuate the ancient Music and Poetry of Ireland. They
97 G
ANNALS OF THE lEISH HARPERS
are solicitoaa to preBerre from oblivion the few fragments
which have been permitted to remaia, ae monuments of the
refined taste and genius of their ancestors.
" In order to carry this project into execution, it mnat
appear obvious to those acquainted with the situation of this
country that it will be neceasary to assemble the Harpers,
those desceudaute of our Ancient Bards, who are at present
almost excluaively posseased of all that remains of the Mnsic
Poetry and oral traditions of Ireland.
" It is proposed that the Harpers ahould be induced to
assemble at Belfast (suppose on the 1st July next) by the
dialributioD of such prizes as loay seem adequate to the
subscribers ; and that a peraon well versed in the language
and antiquities of this nation shoold attend, with a asilful
musician to transcribe and arrange the most beautiful and
interesting parts of their knowledge.
"An undertaking of thia kind will undoubtedly meet
the approbation of men of refinement and erudition in every
country. And when it is considered how intimately the
spirit and character of a people are connected with their
national Poetry and Music, it is presumed that the Irish
Etriot and politidan will not deem it an object unworthy
I patronage and protection."
By the spring of the following year the project had
received substantial support, as we may see from the follow-
ing report in the Bdfcut Newsletter. —
" At a meeting of several subscribers to the acheme for
assembling the Harpera by public advertisement in Belfast,
the 23rd April, 1792, It was agreed ; ' That a Committee of
five snbscribers he appointed to forward and receive sub-
scriptions to circulate hy advertisement in difTerent news-
papers and other ways the period and objects of the meeting,
and to regulate and conduct the subordinate parts of the
scheme ; that Mr H. Joy, Mr Robt. Bradshaw, Mr Robert
Simms, Doctor Jas, Macdonnell, be that Committee. That
a Committee be now appointed as judges for appreciating
the merits of the different performers on the Irish Harps,
who may appear at Belfast on Tuesday the 10th day of
THE HARP FESnVAL OF 1792
July next That the following ladies and gentlemen be
aj^inted to that Committee: — Bev. Mr Meade, Iter. Mr
Vance, Mr Bainey Maxwell, Mr Bobert Bradshaw, Mr
Henry Joy, Doctor Jas. MacDonnell, Mr Thos. Morris
Jones.
"Houble. Mrs Meade, Hooble. Mias de Courcy, Mrs
U'Eenzie, Miss Catherine Clarke, Miss Grant, Miss Bristow,
Mi8 John Clarke, Mrs Kennedy,
"That the premiums be adjudged in proportion to the
fund raised, in the following proportions : 1st premium
£ 1 2nd, ditto ; 3rd, ditto ; 4tb, ditto ; 5th, ditto ; with
smaller gratuities to others in aid of their expenses. That
the airs to be performed previous to the adjudication of
the premiums be confined to the native music of the country
— the mnsic of Ireland. In order to revive obsolete airs,
it is an instruction to the judges on this occasion, not to
be solely governed in their decisions by the degree of
execution or taste of the several performers, but independent
of these circomslances, to consider the person entitled to
additional claim, who shall produce airs not to be found
in any pablic collection, and at the same time deserving of
preference, by their intrinsic excellence. It ie recommended
to any harper who is in possession of scarce compositions
to have them reduced to notes: that the Eev. Mr Andrew
Bryson ' of Dundalk be requested to assist, as a person
versed in the language and antiquities of the nation, and
that Mr William Weare, Mr Edward Bunting and Mr John
Sharpe be requested to attend as practical musicians. That
notification of the meeting on lOth July, and an invitation
to the harpers be published in the two Belfast papers
and in the Nationcd Journal and in one of the Cork,
limerick, Waterford, Kilkenny, Galway, Sligo and Berry
Papers."
' TSo nun u mantloned.
' Bar. Andnw Brytou wm miniitet at the PretbTterisn Churoli ot
Faortowni, betwtcn Dondalk and Kewiy. He wm iuooeedad in th« eua of
the Mms ahnroh b; hii mu and gruidsou. The PrMb;t«riiti aommnnitj
batng (pane in Ihii diatriot, the Brjaoni hod leisnn for itudj uid litanrj
work. It WBi to th* mlniiter BrTHn of the day that Ohwlotta Bronte'*
Iriih Dncle bronght a oopj of " Jue Byr* " for inipeetion, tied np in a red
cotton handkerchief.
ANNALS OF THE IRISH HAEPERS
The first circular would lead as to believe that those
inspiring the enterprise were as much concerned about
the preservation of ancient Gaelic poetry and tradition as
about music, and that thej expected to find in the
harpers, custodians of the relics of ancient traditional
literature.
They were assuming that the harpers were the aaccesaors
of the Irish professional bards, and in this respect were
destined to be disappointed.
O'Curry and other writers, who have since thrown light
on the customs and educational systems of ancient Ireland,
make it plain, that the bard was distinct from the harper.
Just as in the present day, a lyrical poet is rarely found
to be a singer of bis own compositions, the professional poets
of the bardic schools were concerned witji the making of
poetry, and with the recital of famous poems and tales,
handed down from previous generations.
To perfect the Belfast Festival, the country Shanachies
should also have been summoned to recount Ossianic lays
and hero tales.
On page 193 you will read in Arthur O'Neill's "Autobio-
graphy " how the advertisement took effect. He happened
to be laid np with rheumatiem, after a bad wetting, at the
house of a friend and patron. Captain Westenrae, of Lough
Sheelin. His fingers being atiS he was unable to play, and
to pass the time, desired to be read to. The newspaper
was brought, and it happened to be the Belfast Newsletter,
and in it6 columns stood the following advertisement : —
" NaiioTuil Musk of Ireland.
" A respectable body of the inhabitants of Belfast having
poblisbed a plan for reviving the ancient music of this
country, and the project having met with such support and
approbation as must insure success to the undertaking;
performer* on the Irish Harp are requested to assemble in
this town on the 10th day of July next, when a considerable
100
THE HAEP FESTIVAL OF 1792
sum will be distributed in premiums in proportion to their
merits.
" It being the intention of the Committee that evei7
performer shall receive some premium, it is hoped that
DO harper will decline attendiog on account of his having
been unsuccessful on an; former occasion.
"RoBiBT Bradshaw,
Steretary arid Trtatwftr.
" Bsf AST, mih April 1798."
A letter from Dr MacDonnell followed, nt^ng O'Neill to
be present in Belfast without fail. The doctor had a special
interest in this harper, who had spent some time in his
father's bonse in Glenarrif, giving lessons on his instrument
to the boys of the family. We may be sure, however, that
he sent out many letters of invitation and enquiry to
different districts, and through the medium of the advertise-
ments in the other papers mentioned got into communication
with harpers and their patrons. We read, for example, in
Bunting's anecdotes of one O'Shea, a County Kerry harper
almost eighty years of age, " an enthusiast in everything
connected with Irish feeling ; extreme debility alone pre-
vented him attending the Belfast meeting."
Even in our own day of railway travelling the journey
from Kerry to Belfast was found to be a difficult matter, by
a blind piper who turned np as a competitor at a,feiaeeoU
gathering in the Ulster capital He came all the way from
Barrynane, the seat of Daniel O'ConneU's descendants in
Kerry. Having mislaid the paper bearing the address of
the people in Dnblin, who were to be wired to to meet and
assist him on his return, the Belfast Committee^ were for a
time in a dilemma what to do with him. Ultimately a
scrap of paper was found with the Dublin address, and he
' Dr BEDolair Boyd, fint Pnaident of Belfut Otielia Lo^pia, dtwrret to b«
nsntianed her*, for hia •fforta ta rerira th> Iruh pipu, and fail thonghtfnl
■tttntioii to tliB old pipon.
lo:
ANNALS OF THE IRISH HABPEBS
was put in the charge of John Cash, a Wicklow piper, who
had the gift of s^ht.
The Committee at thta same /ets had tx) deal with another
difficulty, which we find referred to in Harper O'Neill'B
account of the Granard competitions. The expense and
trouble of travelling far, to attend competitions, came very
hard on the musicians who were not prize winners. A
subscription for their benefit was necessary, so that even
the aasaccessful lost nothing by attendance.
No uncertainty as to this matter of expenses stood in the
way of the harpers in 1792, yet only ten attended. Their
names are given in the newspaper reports of the day with
that of a Welshman, Williama. This Welsh harper Banting
describes (1840 vol.) as
" a good performer, who died on shipboard shortly after this
date. His execution was very great ; the contrast between
the sweet expressive tones of the Irish tuetrument and
the bold martial ones of the Welsh bad a pleasing effect,
as marking the difference of character between uie two
Nations."
The scene of the gathering was the ball-room of the
Exchange Booms, a building which stood at the junction of
Denial Street and North Street on the site of the present
Belfast Bank.
The names of the Irish barpers present, with age and
place of birth, we give from Bunting's list (1840 vol.) in
preference to that in the Neio^eUer report, which differs
slightly : —
" Denis Hempson, blind, from Go. Derry, aged 97 years or
more, exponent of the old style of playing with long
crooked nails.
Arthur O'Neill, blind, from Co. Tyrone, aged 58, after-
wards instructor to the Belfast Harp Society.
Charles Fanning from Co. Cavan, aged 56. The most
brilliant performer, but a modernist in style.
102
THE HAEP FESTIVAL OF 1792
Daniel Black, blind, from Go. Derr;, aged 75.
Charles BTme/ from Co. Leitrim, aged 80, had the use
of bis eyes, and as a boy had acted as guide to his
blind uncle, a harper contemporaiy with Garolan.
Hugh Hi^ins, blind, from Co. Mayo, ^ed 66.
Patrick Quin, blind, from Co. Armagh, aged 47, one of
the yonngest harpers.
William Carr, from Co. Armagh, aged 15, the only
juvenile competitor.
Rose Mooney, blind, from Co. Meath, aged 52.
James Duncan, from Co. Down, aged 45."
The character of the music played by them will be dealt
with in the next chapter.
Besides Bunting's description and references in the pre-
faces to his publications, contemporary allusions of the festival
will be found in Wolfe Tone's " Autobiography," Arthur
O'Neill's "Life" (which is now printed for the first time in full),
the files of the Northern Star and the BdfaA Ifewiletter.
The Newsletter report was reprinted in a book, now
scarce, " Belfast Politics," issaed by Henry Joy in 1794, and
from it we quote : —
" National Music of Ireland, ISth July 1792.
"The number of Harpers that were present in our
Exchange rooms on Wednesday last, and who are to continne
to assemble in the same place for three days longer were
ten, a sufBcient proof of the declining state of that simple
but expressive instrument and of the propriety of holding
oar every lure to prevent the original music of this country
from being lost. As a principal motive in this undertaking
was to revive some of the most ancient airs now nearly
obsolete, their dates and authors perhaps for centuries
unknown, pains will be taken to reduce to notes such of
those that have been played on this occasion as may lead to
a general publication of the best tunes. Mo one that
remembers the exquisite finger of Dominic will hesitate to
confess the capability of the Harp of Ireland, and how
' BomatimM mUwI Barem, tee O'Neill'i " DUiy."
103
ANNALS OF THE IKISH HAEPEES
worthy it ie of preaervatioo. 67 Buch me&iis alone can oar
National aire be saved from oblivion. Wales and Ireland
have a National Music, while England has none ; if she had,
it would not, like that of the two first countries, be only
in the hands of a few itinerant minstrels."
A list of the harpers present follows, but diSera slightly,
as to age of performers, from that preserved by Bunting.
"Dominic" here referred to waa a harper not long passed
away, whose surname was Mungan. He was in the custom
of visiting the north during the Assize CircuitB. A full
account of him will be found in O'Neill's "Life."
We have already quoted in an introductory bic^^rapby
Bunting's account of the impression made on him by the
proceedings and particularly by Hempson's playing, Wolfe
Tone picked out Fanning as the best performer, and he
was the first prize-winner through his rendering of "The
Coolin " with elaborate variations.
In addition to the newspaper descriptions there is very
fortunately available a letter written by a Belfast lady
at that time in a gossipy and familiar fashion to a friend.
This letter was published in that admirable publication,
"Old Belfast," by Mr K M. Toung. His father, the
Bight Hoa Bobert Young, has made a special study of
all matters relating to Bunting and the Masical Festival
and published in the Ulster Archceologieal Journal and
in the Iri^ Folk-Song JouttuU, vol. 2, 1905, a great deal of
information, which has been a guide to us in our research
and our study of the Bunting's manuscript.
The letter we have referred to goes on as follows : —
"And so my friend did not wish to come to the review,
neither did I, and yet I went. We hod a very agreeable
day ; indeed the review was over by three o'clock. When the
Volunteers came into town, they were joined by the Gentle-
men of the Town and neighbourhood, with the emblematick
104
THE HARP FESTIVAL OF 1792
Paintiogs and plays. They then marched throngb the prin*
cipal streets; this march terminated in Linen Hall Street,
where the Tolnnteers fired three great feus de joys. They
then weDt into the Hall as many aa it vonld hold, and made
their declaration, held their debates, and settled the affairs of
the Nation ; it was eight o'clock before they got to their
dinners. There were a number of pnblick dinners throngh
the town, but the grandest was the celebration Banquet
at the Donegal arms; there they had all the grand toasts,
celebrated songs, etc, and paid halt a guinea each man.
There were a number of Dublin gentlemen here; among
the rest was the celebrated James Napper Tandy, that I
suppose you often heard of. I suppose there never was
such a nnmber of people in Belfast at once; the grand
Beview was nothing to it . . . and eo you must have an
account of the Harpists too, I was hearing them one
day. I like them very much. The Harp is an agreeable
soft musick very like the notes of a Harpsichord ; would
be very pleasant in a small room. There were eight men
and one woman all either blind or lame, and all old but two
men. Figure to yourself this group, indifferently dressed,
sitting on a stafis erected for them in one end of the
Exchange Ball Boom, and the ladies and the gentlemen
of the first fashion in Belfast and its vicinity looking on and
listening attentively, and you will have an idea of how they
looked.
" Ton can't imagine an3rthing sweeter than the musick ;
every one played separately. The money that was drawn
during the four days that they were here was divided among
them according to their merit. The best performers got t«n
guineas, and the worst two and the rt^st accordingly. Now
how do you like the poor old Harpers ? "
The only point calling for remark in this letter is the
reference to " the celebrated James Napper Tandy," the only
one of the Dublin visitors mentioned, though they included
Wolfe Tone, John Eeogh, and Whitley Stokes. Tandy was,
however, Immensely in favour with the populace. Tone, in
his " Diary," refers to him as " The Tribune," likely thinking of
105
ANNALS OF THE IRISH HABPEBS
the BomaQ Tribunes of the pleba, champions of popalar
rights.
To this we may add this note by Bunting (1840 vol.).
"It may be interesting to the reader to know some-
thing of the personal appearance of these last represen-
tatives of a class so famous in song and history. They
were in general clad in a comfortable homely nL&nner in
drab-coloured or grey cloth of coarse manufacture. A few
of them made an attempt at splendour by wearing silver
buttons on their coats, particularly Hi^ns and O'Neill.
The former had his buttons decorated with his initials
only ; but O'Neill bad his initials, surmounted by the crest
of the O'Neills, engraved on silver buttons the size of a
half-crown. Some had horses and guides when travelling
about the country, others their attendants only who carried
their harps. They seemed perfectly happy and contented
with their lot, and all appeared convinced of the excellence
of the genuine old Irish music, which they said had existed
for centuries, and from its delightful melody would continue
to exist for centuries to come. The Editor well remembers
the anguish with which O'Neill contemplated the extiootion
of the old strains, which he said had been the delight of
the Irish Nation for so many years. He called them with
tears coursing down his aged cheeks, ' The dear, dear Bweet
old Irish twiea.'"
As to the general character at the harpers' playing
Banting preserved a vivid recollection, and published at
the end of his life a detailed account.
The second chapter of the 1840 volume opens with a
remonstrance (^inst the generally accepted idea of the
characteristics of Irish music. What is there published
in a condensed and toned - down form, we find a rough
draft of, among the manuscripts. In this Bunting speaks
his mind more vehemently than bis literary co-editors
sanctioned him to do in priot We think it well to repro-
duce the rugged and unedited phrases of Banting himself.
106
THE HAEP FESTIVAL OF 1792
"The world have been too apt to suppose our music
of a highly plaintive and melancholy character, and that it
partook of our Kational feeling at the state of our country
in a political view, and that three paita out of four of oar
tUDfls were of this complaining uature. Now there never
was anything more erroneous tiian this idea. In the year
1792 when the meeting of Harpers took place at Belfast
the Editor being selected to note down the tunes was
very mnch surprised to find that all the Melodies played
by the harpers, were performed with ao mnch quickness,
that they did not bear the least comparison with the
manner in which he had been accustomed to hear them
played on the flute, violin, etc., by the Professors of those
instmments, who universally performed them so alow that
the melody was nearly lost, and they were sung by the
better class of people in the same drawling sleepy style.
"The fact was the tunes were played with a great
d^ree of animation at this meeting, quite different from
the common adopted mode, which made them assume a
new character and approached nearest to the national
manners of the Irish, a spirited, animated and highly lively
style, which certainly and in truth accords more with the
natural character of the Irish than the drawling dead,
doleful and die-away manner in which all our airs were
and are in many instances played and sung to this day
hy OUT public performers and singers (for instance in
' Savoumeen deelish ').
"The Editor has often been complimented ou his style
of performing Irish airs on the pianoforte, bat be claims
no merit superior to other players on that instrument than
that of playing the melodies quicker and in humble imita-
tion of that animated manner peculiar to the old harpers.
The Editor has taken pains to point out the time of the
airs at the head of each tune in this collection, which
when attended to will place the Irish Tunes in their proper
positions hereafter. ... It may be well to remark how-
ever that such is the purity and elegance of our melodies,
that let them be played alow or quick they serve the
purpose of either grief or most joyous music"
107
ANNALS OF THE IRISH HARPERS
Thronghont, Bnntiiig's decided preference for the airs
when rendered by the harp, is evident. The voice even of
traditional singers tends to dwell on and lengthen out
notes. The flute and violin easily imitate the soBtennto
effects of the singer, but the harp is at its best when
rapid, rippling passages are played. Something of the
gaiety and spirit of Irish music has, without doubt, passed
with the decline of the harpers.
The last sentence, in which he admits that the same
air can speak grief or joy was not printed. It suggests
very interesting experiments. Take, for example, the m^ody
made known to fame in Moore's " Let Erin Remember the
Days of Old." In march time, it suggests the spirited tread
of an army going hopefully to battle : sung slowly by the
dragging voices of a choir it might be the dirge for the
slain after defeat In its original form, before Moore handled
it, it is the tune of the "Maidrin Ruadh," or "Little Red
Fox," imitating in quickest possible measure, the gallop of
the hunt, and with a spirit of reckless jollity. Another air
occurs to me which is popular in the north as " My Love,
Nell," and in other parts of Ireland the re^in is:
" Mj love, Dan, wu an IriHlmuii),
From the County Cork came he.
Oh, I weepit' and I wailit as the big ahipa aailit
To the shores of Americee."
There is no weeping and wailing in the music which
is remarkable for its jaunty comicality, but of late years
the very same air has been popular at Dublin concerts,
sung to a slow, sorrowful, almost heartrending chant,
"Farewell to Cork."
Id view of the fact that Giraldus Cambrensis was struck
by the rapidity of Irish harp music in his day it is interest-
ing to have this evidence that the same style was sustained
by performers at the Festival of 1792.
CHAPTEB XII
TBK LAST HAKFEBS
Amongst this group of harpers, mostly old aod blind or
lame, Banting was iustaotly attracted by the appearance
and performance of the oldest of them, Denis Hempson,
whose style of playiog had characteristics shown by none
of the others. In his person there survived the most perfect
link with the ancient harpers of Ireland. He was absolutely
untaioted by the modern school of composition, and regarded
the airs of the famous Turlogh O'Carolan with scorn.
To this old man, then well over ninety, and destined
to live till his hundred and twelfth year, Sunting instantly
attached himself ; coasting, admiring, and humouring, follow-
ing him to his home on the northern coast, always patiently
listening and recording, till he had drained him of bia
store of music.
Let OS realise the personality of Denis Hempson with
his environment, and the historical background of his long
career.
He was a native of the district of Ulster, planted by
the London companies in the re^ of James I., and ever
after mapped as County Londonderry. Anciently it had
been the tribeland of the O'Cahane, the most powerful
and loyal of the sub-tribes of the regal O'Neills. When
an O'Neill was inaugurated as chief on the flag-stone on
the mound of Tullahoge, the O'Oahan of the day stood
AKNALS OF THE tBtSH HASPEBS
hf his right hand and took a leading part in the
ceremoDy,
Hi^h, the last O'Neill that had the title of chief,
made hie final stand after years of warfare in the wild
glen country of this part of TJlster at the end of Elizabeth's
reign.
Tou will read later on of an O'Cahan of this coantry,
Eory Dall, a famous harper, who was honoured by this
great O'Neill.
It was aa O'Cahan, a woman harper, who first taaght
Denis Hempson* to play, and when he had acquired the
art, his inetniment was made for him in his native
County Derry by a skilled harp maker, Cormac Kelly
of fiallinascreen.
The Londoners had made a new settlement here called
Draperstown, which still stands prim and clean on the
verge of a mountainons country, where the Irish speech,
the old traditions, the old music, still linger. Even into
that Puritan - looking town, designed for a stronghold of
Anglicism in Ulster, the reflex of the Gaelic tide has
crept The present writer has sat in the schoolhouse there
to listen to children's voices singing in Irish, whilst their
companions fingered the graceful harp. How delightful it
was to see this in a district associated with old native
culture and music.
When Denis Hempson was a boy he must often have
sat to listen to tales of the great wars in Ireland. The
old men of his early days could have taken part in the
great rising of 1641. From his tribeland there sailed
to the Scottish shore the Irish swordsmen of Alastair
MacDonnell to share in the rising of Montrose. The
Colonists, among whom he lived, fled with their famUies
to take shelter behind Derry walls daring the famous siege,
and the native tribes had rejoiced as Lord Antrim's men
' He wM known in Hagilligui ai O'Hampw;, tnd tlw nun* haa bien
uigUinHd ■■ Sunprcn.
110
DENIS IIEMPSON.
iFr^m a^ Bid E«gravh,g.)
THE LAST HARPERS
came marching to the music of the pipes, and the news
flew TOimd of the coming of King James to Ireland, After
that there was to be mourning for the defeats of Aughrim
and the Boyne. Id that central district of Ulster, Edward
Bunting recovered a lament for Anghrim. This song was
a new one when Hempson was a child. Later, when as
a harper, he wandered through Ireland and Scotland, the
poets of the Gkel, in allegorical song, were sending forth
tidings Af a royal exile, and prophesying the return of an
absent lover to a beautiful mourning bride.
At last it was Hempson's lot to sit in the hall of
Holyrood, and play his harp in the presence of the hero
of these stirring Jacobite songs, Charles Edward, the young
Chevalier.
And in old i^, after years of wandering, be came to
settle on the sea coast of hia native territory at Magilligan.
Here he was patronised and protected by a man who had
taken a leading part in the stirring political events of 1782.
Eervey, Earl of Bristol and Bishop of Derry, one of the
most picturesque figures in the gathering of the Irish
volunteers, an advocate of Catholic emancipation, liberal-
minded, a patron of the arts and noted oounoisseur.
He had a passion for architecture, and designed a stately
country residence on the steep cliff of Down Hill, overlooking
Magilligan strand. The Bishop had travelled abroad to the
most noted beauty spots of Europe, yet no wonder that
he chose Magilligan for a residence. It is an enchanted
land.
The River Bann, famous for salmon and all manner
of fish, comes to the sea some miles westward of the Giants'
Causeway, flowing past low sand-dunes to a long strand.
Across it are steep cliffs, on the high plateau of which is
the Bishop's residence. At its foot the strand continues
in a long sweep oat at right angles to the land, looking
like a golden pathway over to the dark mountains of
111
ANNAI5 OF THE IBISH HARPERS
Innishowen, tea miles away. Bat the barrier is broken
over there by a chanael throagh which the ships cas sail
into the sheltered waters of Loch Foyle, that often lie
glasB-calm, mirroriag the hills of the coast.
There St. Columcille steered his carrach with its
prow turoed from Deiry, and ia later years thither he
returned from loaa, and going up to the green mound of
Drnmceat, on the banks of the Roe, mode intercession and
peace between the king of Ireland and the Bardic Order,
This is history ; bnt the l^nds that hover aboat those
waves and straads have also to do with poetry and song.
Where the Bann comes dowa by the sandhills, Kiag Lir's
lonely daughter, in her swan shape, once floated and sang ;
and, again, on the strand at the mouth of the river, the
skeleton of a great sea-monster once lay bleaching, the wind
shrilling through its bones made such music that it lulled
asleep, a woman who came that way, flying from the love
of one whom she did not desire. He, following, found
her asleep, and heard the wind music, and, wishing to
imitate it, fashioned out of the bones a harp, and with it
made music to win her love. "This," says the legend,
" was the first harp ever made in Ireland." The castle on
the cliff, that looks down on the strand where it was made,
treasures the harp of one of the last minstrels, old Denis
Hempson of Magilligan.
I had almost forgotten the most beautiful of all the
l^ends of the place, for the surge that roars for miles on
the great strand is one of the famed magical waves of
Ireland, that used to roar and resound when the shield of
Ireland's king was smitten in battle.
To this beautiful place Edward Bunting hastened as
soon as possible after the Harp Festival of 1792 lest the old
man's treasury of music might perish with him. His note-
books are full of airs taken down from him, and the
information given about them is always carefully noted.
112
THE LAST HABPEBS
Tbea we have a record of the wonderful age attained by a
large proportion of persons in the district.
Befening to the invaluable Bdfast Ntwdttttr files, we
find a very prosaic piece of information about Magilligan
to add to all the history and poetical legends about the
place. A regular trade was carried on between Belfast and
this beautiful sand-dune land at the month of Lough Foyle.
We find in the advertisement columns regular announce-
ments of the coming auction of Magilligan rabbit skins. So
we may make bold to imagine that when Edward Bunting,
organist in Belfast, wanted news of the old harper, to hear
if he was still alive and well, he went over to the auction
mart where the rabbit skins were being disposed of, and
met some countryman carter from Magilligan. The fur, we
understand, was used in the manufacture of "beaver" for
hats then faahionabla
A very full account of Hempson is published in the
1840 volume of Bunting, of whi(^ we now reproduce the
following : —
" Denis O'Hampsy or Hempson, with whom the Editor
of this collection was many years ago struck as a model
of Ae old Irish achool, was bora shortly after Carolan, in
the year 1695. He had been in Carolan's company when
a youth, but never took pleasure in playing his compositions.
The pieces which he delighted to p^orm were unmixed
with modem refinements, which he seemed stndiooely to
avoid; confining himself chiefiy to the most antiquated of
those strains which have long survived the memory of their
composers and even a knowledge of the ages that produced
them. Hempson was the only one of the harpers at the
Belfast meeting, in 1792, who literally played the harp wi&
long crooked nails, as described by the old writers. In
playing, he caught the string between the flesh and the
nail ; not like the other haipers of his day, who pulled it
by the fleshy part of the finger alone. He had on admirable
method of playing ^cuxaio and Legato, in which he could
113 n
ANNALS OF THE IRISH HABPERS
ran throngh rapid divisions in an astonishing style. His
fingers lay over the strings in such a manner, that when
he struck them with one finger, the other was instantly
ready to stem the vibration, so that the Staccato passages
were heard in full perfectioD. When asked the reason of
hia playing certain parts of the tnne or lesson in that style,
his reply was : ' That is the way I learned it,' or ' I cannot
play it in any other way.' The intricacy and peculiarity
of his playing often amazed the Editor, who could not avoid
perceiving in it vestiges of a noble system of practice that
had existed for many centuries ; strengthening the opinion,
that the Irish were, at a very early period, superior to the
other nations of Europe, both is the composition and
performance of music Id fact, Hempson's Staccato and
Legato passers, double slurs, shakes, turns, graces, etc., etc.,
comprised as great a range of execution as has ever been
devised by the most modern improvers.
"An accurate portrait of Hempsoa, when above one
hundred years old, was inserted in the Editor's former
collection, and is given here in miniature. The following
account of him, communicated in a letter from the late
Eev. George Sampson, the historian of Londonderry, was
originally published by Miss Owenson, now Lady Morgan,
in her admired novel, 'The Wild Irish Girl.' Were the
writer still alive, the Editor is satisfied he would approve
of his memoir being transplanted into a work to which it is
so peculiarly suited, and where it will be handed down with
the minstrel's favourite music.
"3niJuiy180fi.
"I made the survey of the man with two heads (in
allnsion to an enormous excrescence or wen on the back of
his head) according to your desire, but not till yesterday,
on account of various impossibilities; here is my report:
" ' Denis Hempson, or the man with two heads, is a native
of Oraigmore, near Garvagh, in the County of Londonderry.
Hin father, Bryan Darragher (blackish complexion) Hempson,
held the whole townland of l^rcrevan ; his mother's relations
were in possession of the Woodtown (both considerable farms
at Magiiligan). He lost hia sight at the age of three years
114
THE LAST HARPERS
by the small-poi ; at twelve years old he began to learn
the harp under Bridget O'Cahan ■ " for /' aa he eaid, " in these
old LimeB, women as well aa men were taught the Irish harp
in the beat familiea, and every old Irish family had harps
in plenty." Hia next iostnictor was John G. Garragher^ a
blind travelling harper, whom be followed to Buncranagh,
where his master need to play for Colonel Yanghan ; he
had afterwarda Longblin Fanning and Patrick Connor, in
snccessioD, as masters. "All these were from Connaught,
which was," as he added, " the best part of the kingdom for
Irish harpers, and for music." At eighteen years of age he
began to play for himself, and was taken into the house of
Counsellor Canning, at Garvagh, for half a year; hia host,
with S<iuire Gage and Doctor Bacon, joined and bought him
a harp.
"'He travelled nine or ten years through Ireland and
Scotland, and tells facetious stories of gentlemen in both
countries ; among others, that, in passing near the residence
of Sir J. Campbell, at Aghanbrach, he learned that this
gentleman had spent a great deal, and was living upon so
much per week for an allowance. Hempson through
delicacy would not call, but some of the domestics were
sent after him. On coming into the castle. Sir J. Campbell
asked him why he bad not called, adding, " Sir, there never
was a harper but yourself that passed the door of my
father's house." To which Hempson answered, " that he had
heard in the neighbourhood hia honour was not often at
home"; with which delicate evasion Sir J. was satisfied.
He adda, " that this waa the stateliest and highest bred man
he ever knew ; if he were putting on a new pair of gloves,
and one of them dropped on the floor (though ever so clean),
he would order the servant to bring another pair." He says
that in that time he never met but one laird who had a
harp, and that waa a very small one, played formerly by
the laird's father ; and that when he bad tuned it with new
strings, the laird and his lady were so pleased with his
music, that they invited him back in these words : " Hempson,
aa sooTi OS you think this child of oura (a boy of three years
of age) is fit to learn on his grandfather's harp, come back
to teach him, and you shall not repent it ; " but this be nerer
115
ANNALS OF THE IBISH HARPERS
aocomplished. He told me a story of the Laird of Strone,
with a great deal of comic relish. When he was playiug
at the house, a messenger came, that a large party oi
geDtlemes were coming to grouse, and would spend some
days with him (the laird). The lady, being in great distress,
turned to her husband, saying, " What shall we do, my dear,
for so many, in the way of beds?" "Give yourself no
uneasiness," replied the laird ; " give us enough to eat, and
I will supply the rest ; and as for beds, believe me, every
man shail Jind one for Kimidf" (meaning that his guests
would fall under the table).
"' In his second trip to Scotland, in the year 1745, he was
at that time, by his own account, nearly fifty years of age :
being at Edinburgh when Charley the Pretender was there,
he was called into the great ball to play ; at first be was
alone, afterwards four fiddlers joined ; the tune called for
was, " The king shall enjoy his own again " : he sung here
part of the words following :
' " I hope to see the day
When the Whigs shall run away,
And the king ghall enjoy hii own again.
I asked him if he heard the Pretender speak ; he replied,
I only heard him ask, " Is Sylvan there ? " On which some
one answered, " He is not here, please your Koyal Highness,
but he shall be sent for." He meant to say StUlivan, con-
tinued Hempson, but that was the way he called the name.
He says that Captain Macdonald, when in Ireland, came to
see him, and that he told the Captain that Charley's cockade
was in his father's house.
"Hempson was brought into the Pretender's presence
by Colonel Kelly of Koscommon and Sir Thomas Sheridan.
He played in many Irish honses ; among others, those of
Lord de Courcy, Mr Fortescue, Sir P. Bellew, Squire Roche;
and in the great towns, Dublin, Cork, etc., etc., respecting
all which, he interspersed pleasant anecdotes with surprieing
gaiety and correctness.
"General Hart, who was an admirer of music, sent a
painter to take a drawing of him, which cannot fail to be
116
THE LAST HABPERS
interesting, if it were only tor the venerable expression of
his meagre blind coantenance, and the symmetry of his tall,
thin, but not debilitated person. I found bim lying on his
back in bed, near the fire of his cabin ; bis family employed
in the usual way ; bis harp under the bed clothes, by which
hia face was covered alsa When he heard my name, he
started up (being already dressed) and seemed rejoiced to
hear the sound of my voice, which, he said, he began to
recollect He asked for my children, whom I brought to see
him, and he felt them over and over ; then with tones of
great affection, he blessed God that be bad seen four genera-
tions of the name, and ended by giving the childreo his
blessing. He then tuned bis old time-beaten harp, bis solace
and bed-fellow, and played with astonishing justness and
good taste.
" ' The tunes which he played were his favourites ; and
he, with an elegance of manner, said at the same time, " I
have not forgotten the airs you used to ask for," which were
" Coolin," " The Dawning of the Day," " Ellen a Boon," " Cean
dubh diJis " etc These, except the third, were the first tunes
which, according to r^ulation, he played at the famous
meeting of han>Q^s at Belfast, under the patronage of some
amatenra of Irish music. Mr Bunting, the celebrated
musician of that town, was here in 1793, the year after the
meeting, at Hempson's, noting his tunes and his manner of
playing, which is in the best old style. He said, with the
boneat feeling of self-love, " When I played the old tunes,
not another of the harpers would play after me." He came
to M^illigan many years ago, and at the age of eighty-six
married a woman of Innishowen, whom he found living in
the bouse of a friend. " I can't tell," said Hemjaon, " if it
was not the devil buckled us together, she being lame, and
I blind." By this wife be has one daughter, married to a
cooper, who has several children, and maintains them all,
though Hempsou (in this alone seeming to doat) says, that
his son-in-law is a spendthrift, and that he maintains them ;
the family humour his whim and the old man is quieted.
He is pleased when they tell bim, as he thinks is the case,
that several people of character for musical taste send
letters to invite him; and he, though incapable now of
117
ANNALS OF THE IKISH HARPEBS
leaving the house, is planning expeditions never to be
attempted, much leas realised ; these are the only traces of
mental debility. As to his body, he has no iDconrenience
but that arising from a chronic disorder. His habits have
ever been sober; bis favourite drink, once beer, now milk
and water ; his diet chiefly potatoes. I asked him to teach
my daughter, but he declined ; adding, however, that it was
too hard for a young girl, but nothing would give him
greater pleasure if be thought it could be done.
'"Lord Bristol, when lodging at the bathing-bouse of
Mount Salut, near Magilligan, gave three gnineaa, and
ground, rent free, to build the house where Hempson now
lives. At the house warming, bis lordship with his lady
and family came, and the duldren danced to his harp.'
" It will be satisfactory, to such as take an interest in
the Bimple annale of the harpers, and venerate any vestiges
of the bardic system to learn, that the close of Hempson's
long life of 112 years (he died in 1807) was rendered com-
fortable by the humanity of tbe Bev. Sir H. Harvey Bruce,
from whose hand he was often literally fed. The day before
his death, upon hearing that this gentleman had come to his
cabin, he desired to be raised up in his bed, and the harp
placed in his hands. Having struck some notes of a
favourite strain, he sunk back unable to proceed, taking bis
last adieu of an instrument which bad been a companion,
even in his sleeping hours, and was his hourly solace through
a life protracted to the longest span. His harp is preserved
in Sir Henry's mansion, at Downhill, as a relic of its
interesting owner. It was made by Cormac 0'£elly, about
the year 1700, at Ballynascreen, in the County Derry; a
district long famous for the construction of such instruments
and for the preservation of ancient Irish melodies in their
original purity. It was with great ditficulty the Editor
was able to procure the old harp music from Hempson.
When asked to play the very antique tunes, be uniformly
replied, ' There was no use in doing so, they were too hard to
learn, they revived painful recollections.' In short be
regarded the old music with a superstitious veneration,
and thought it in some sort a profanation to divulge it to
modem ears."
118
THE LAST HABPERS
Thus concludes Mr Sampson's acoonDt of tfae Magilligan
harper.
Hempeon was a contemporary of the famons Tnrloagli
O'Carolao of whom many anecdotes are related in Arthur
O'Neill's "Memoir"; an oatline of his life may be fitly included
here, as bis music was bo much in favour with performers
at the Belfast festival. Ooldsnith in hia youth saw him
and baa recorded his impression in an essay on the last of
the Bards. Perhaps when he in bis turn started out to tonr
through Europe, with no other means of support than his
flute, he had in mind the wandering minstrel, who was such
a welcome guest in the country gentlemen's homes in
Western Ireland.
Bunting writes of Carolan :
"He was born in the year 1670 at Nobber, or, as some
assert, at a neighbouring village in the County Westmeath,
and died at the age of sixty-eight in the year 1738. Early
deprived of his sight by the small-pox, tlie inhabitant of a
country recently desolated by a civil war and add to these
his propensity to dissipation, we must wonder at the proofs
he has given of the depth and versatility of his talents.
Some idea of the fertility of his invention may be formed
from this circumstance, that one harper who attended the
Belfast meeting in 1792, and who had never seen Carolan,
nor been taught by any person who bad an opportunity of
imitating him bad acquired upwaids of one hundred of his
tunes, which he asserted constituted but an inconsiderable
EortioD of them. As an instance of the facility with which
s committed tunes to memory as well as of the astonishing
ease with which he could produce new melodies, take the
following fact vouched fur by the Monthly Beview. At the
house of an Irish nobleman where Oeminiani was present,
Carolan challenged that eminent composer to a trial of skill.
The musician pUiyed over on his violin the fifth Concerto of
Vivaldi. It was instantly repeated by Carolan on his Harp,
although he had never heard it before. The surprise of the
company was increased when he asserted that he could
119
ANNAI5 OF THE IRISH HABPEBS
compose a concerto himself at the momeot, and the more so
when he actually played that admirable piece ever since
known as Carolan'a Concerto. He composed as one who
knew him well reported npon the buttons of his coat, taking
them as representative of lines and spaces, , . ."
Dr Giattan Flood corrects this story, stating on the
authority of O'Conor of Belnagare, that Gemiuiani nerer met
Carolan, but having heard of him tested his powers by
sending over to Elphin a Concerto having certain mistakes
purposely inserted- This was played over for Carolan who
remarked in Irish : " Here and there it limps and stumbles,"
and, taking his harp, he suggested improvemeots. These were
noted and sent to Geminiani then in Dublin, who pronounced
him a genius. Dr Grattan Flood in bis history of music
gives an admirably concise life of the bard with an account
of his various compositions, He writes in conclusion:
" It seemed like a design of Providence that in the year
1738, Carolan stricken with illness found himself at the
hospitable mansion of hia old patroness Madame M'Dennott
at Alderford near Boyle. His illness was of short duration
and he died after a last performance on the Harp, crowning a
life of song with a wild and touching ' Farewell to Music ' on
Saturday, March 25th, 1738."
Charles O'Conor briefly yet expressively wrote as follows
in Irish, which may be translated " Turlou^h Carolan the
iaimted attd prin^p<U AfuBtcian of Ireland died. May the
Lord have merey on Aw Soul, for he vxa a moral and religious
Dr Grattan Flood goes on to quote Hardiman's description
of the funeral :
"Os the fifth day after his death upwards of sixty
Clergymen of different denominations, a number of gentle-
men from the surrounding counties and a vast conooarse
120
THE LAST HAEPERS
«f couDtry people assembled to pay the last mark of respect
to tbeii favonrite bard. AH the houses in Ballyfarooii (on
the border of Co. Sligo) were oocnpied by the former and the
people erected tents in the Gelds around Alderford House.
The Harp was beard in every direction. Old Mre MacDermot
herself joined the female mourners who attended to weep as
she expressed herself 'over her poor gentleman,' the head of
all Irish Music The funeral was one of the greatest that
for many years bad taken place in Conoaught"
So far as Dr Flood is quoting Hardiman, he continues
to say:
"O'Carolan was buried in the east end of the old Church
of Kilronan adjoining the vault of the MacDermots. From
a letter written by Charles O'Conor the following extract is
of interest: 'In my pensive mood at Kilronan I stood over
poor Carolan's grave, covered with a heap of stones ; and
I found hia skaU in a niche near the spot, perforated a little
in the forehead that it might be known by that mark. . . .'
Althot^b no monument marks the grave of O'Carolan yet
the late Lady Louisa Tighe got the cemetery enclosed, and
had an Irish designed gate surmounted by a central cross.
Over the arch of the gateway is the inscription: "Within
this Churchyard lie the remains of Carolan the last of the
Irish Bards who departed thia life March 25th, 1738. R I. P.'"
A fine portrait of Carolan was executed from life by
order of Dean Massey of Limerick about 1720 of which
engravings are familiar.
Through the exertions of Lady Moi^an a subscription
was raised tor a monument to him, which took the form
of a white marble bas-relief, in which be is represented
as playing on the harp.
It is placed in a prominent position in St Patrick's
Cathedral, Dublin, not far from the monument to Dean
Swift, who, by the way, was Carolan's contemporary and
translator of one of his well-known songs, " Fleraca na
Ruarcach " or " O'Eourke's Noble Feaat"
121
ANNALS OF THE IRISH HABFEBS
The skall of Oarolaa nnderwent atrange vicissitades, and
Dr Qrattan Flood asaerts that it is at present in Belfast
in possession of a Masonic Lodge, and made ase of in some
part of the ceiemonial of the Order. It is to be regretted
that la the city so famous for its Teoeration for harpers, the
relic of such a famous bard should be used in sach a we]r.
CHAPTER Xni
THE UST HABPERB — (continued)
Chablxs Fahhing, the first prize wimier at the three Grauard
balls, and at the Belfast festival, was evidently a brilliant
and show; performer and skilled in rendering variations.
Arthur O'Neill (see that harper's "Life") had visited him in
his father's home, speodicg three weeks there. He had an
evident liking for him mingled with pitj and acorn that he
did not sufficiently maintain the dignity of his calling. He
dictated the following bif^raphical notice, the original of
which is among oar MSS. : —
" Charles Fanning was boiii in the County of Leitrim in
the Province of Connaught. His father, Loughlin Fanning,
was a decent farmer and played well on the harp. Charles
was principally instructed by Thady Smith, a native of the
County of Koscommon, and a tolerable performer on the harp.
Cbarlea Fanning in consequence of his performance on the
Harp, became much respected. He never taught any, but
merely was an amateur and principally supported himself
by the private emoluments arising from his profession." (Note
O'Neill's contradictory definition of an amateur. He had,
perhaps, confounded the words professor and professional, and
had heajd that amateur was the negative of the latter. — Ed.)
" On his first arrival into the County of Tyrone he got
acquainted with a Mrs Bailie of Terrinaskea in that County,
who played on the harp very well. Charles married her
kitchenmaid, for which Mrs Bailie was greatly disobliged, as
she frequently had him at her table, and had him introduced
123
ANNALS OF THE IRISH HABPEBS
to genteel Company. She fell out with him aad he waa not
received as usuallj. Charley and the wife boxed now and
then.
"He vieited Mrs Bailie generally at three months a time
in his professional way. His wife waa dischai^ed and was
generally sneaking after him everywhere. He went from
Mrs Bailie'e to Derry, and got hiinself introdaced to the
Bishop, who seemed to like him well, otherwise he would
not keep him. I, Arthur O'N'eill, went to Deny where I
met Charley, and when I asked him how he was Charley
replied that I might ' blow a goose-qnill through his cheek,'
meaning he wae so poor and thin, and this time he had the
wife and one or two children to support.
" After he left the Bishop's he rambled about the Nation
awhile. I next heard he fell in with a Mr Pratt of
Kingsconrt in the County Cavan. He lived a couple of
years there and had a house and a garden and four acres
of land and the grazing of four cows in the demesne. He
had a letter from Mr Pratt, that he would give him a lease
of his concern ; hut on Mr Pratt's death his brother's son,
who was his heir, refused giving the lease and turned him
out. Charles consulted Counsellor (now Judge) Fox with
his case, who gave an opinion in his favour, and said he
would make it good.
"Charles gave Fox the letter, but in consequence of
some private influence as he believed, he never could get
it from him again, and it is generally believed he was
betrayed. He then rambled as usual I saw him often
afterwards, who told me the above story about Mr Fox.
I next heard of his being in Belfast in 17S2, at the time
of the celebration of the French Revolution, where I met
him. He got the highest prize for his performance on
that occasion."
Fanning and O'Keill had met in three competitions
previous to the Belfast gathering, namely, at Granard, an
account of which will be found in the blind harper's " Life."
He handsomely acknowledges the ability of his rival, saying,
" Fanning deservedly always got the first prize,"
124
THE LAST HABPEBS
The story of the lost letter and the lease will cause many
to wonder whether the Counsellor, who behaved bo shabbily
to the poor harper, conld possibly have been the "Noble
Fox" made famous in the ballad of "Willie Keilly and bis
own Colleen Bawo." Of James Duncan, O'Neill related :
"This gentleman was descended of respectable parents
in the County of Down, and was taught to learn the Harp
only aa a qualifying branch of hia education for which
instrument he had a partiality. He was principally
instructed by a Harry FitzSimmons, professor of the Harp,
under whom he made a very considerable proficiency. His
embarrassment in life was the chief cause of his becoming
an itinerant harper for some years. He was deeply engaged
in a law-silit with some of his family, and the emolument
arising from his performances were the principal means of
defraying the expenses of it. The law-suit terminated in
his favour, and he obtained bis property in the possession
of which he lately died. I met him in Belfast in 1792 on
the occasion already mentioned, and bis gentlemanly conduct
induced me to form an uncommon opinion of him. I was
much grieved when coming to Belfast afterwards, I made
his part of the country with the intention of calling on
him when I was informed of his death. He was an
excellent performer, bat knew very little of ancient Irish
Airs. He played a great variety of modern airs very
well."
Though he does not here mention it, it will be seen by
nference to O'Neill's " Life " that be had also met Duncan
at the third Granard ball and kept company with bim.
Hoae Mooney, whom Bunting notes as " blind, from the
County Meatb, aged fifty-two," had been competitor and
thrice third prize winner at the Granard balls. O'Neill's
" Life " contains many anecdotes of her and her maid Mary,
and be adds a brief memorial note, in which he says that
she bad been a pupil of Thady Elliot, a disreputable
drunken fellow, given to coarse drollery. He tells of one
125
ANKALS OF THE IRISH HARPERS
occasion on which he, the highly respectable and cultivated
harper, encountered him.
" I was entertained at a Mr Preston's near Navan, and
the same Thady Elliot was there at that time to offer his
nsual services ; but Mrs Preston dismissed him for two
reasons ; one was to pay me a compliment and not to suffer
him to intrude on me, and the other was that she was
much prejudiced for his conduct, as he would endeavour
to show his wit no matter in what company. I know
nothing more about Thady, but I understand ho died one
day of an Innishoen (Epilepsy) in the County of Meath,
where he was born. But to return to Rose Mooney, I
never heard much about her only as an itinerant Harper,
until I was informed that she and her maid, Mary, were in
Killala at the time the French landed there. How she and
her maid (and the Devil's own maid she was) finished their
career, is not well known, hut it is generally imagined, that
when the rebels forced open the loyalists' spirit stores. Rose
and her maid went in to some of them, where the impression
Thady Elliot gave Rose in her early days had such an effect
that it is thought she kicked the bucket as her tutor did.
Rose was at one time much respected, but it is certain
that her maid was the principal cause of her falling into
dis-esteem as she would and did sacrifice her mistress's
reputation for a glass of whiskey."
Hugh Higgins, a native of Tirawley, County Mayo, was
blind, and fifty-five years of age at the time of the Harp
Festival, is referred to in O'Xeill's "Life" as a gentleman
harper, and as " my dear deceased friend," from which we
may gather that he was a man of respectable character,
for O'Keill called no one friend who was not a credit to
the calling of which he was so proud.
Higgins played an adventurous part in helping another
blind harper, Owen Eeenan, out of bonds. The incident
occurred in Omsgh, my native town, and I can readily
piotore all that happened. Arthur O'Keill, who states that
126
THE LAST HABPER3
£eeiian was his earliest teacher of the harp when resident ia
Angher, County Tyrone, gave n full accoant of the incidents.
Samuel Ferguson condensed hia narrative as follows: —
"Owen Keenan (bom about 1725) was another of the reck-
less turbulent class. Still there is a good deal of adventurous
interest, if not genuine romance, in the various escapades
and froUca in which he was engaged.
" Being often at Eilymoon, the residence of Mr Stewart
near Cookstown, in the County of l^rooe, he became
enamoured of a French governess, who resided with that
family, and blind though he was contrived on one occasion,
like another Borneo, to make bis way to her apartment by
a ladder. Mr Stewart, justly offended, had him committed
to Oma(;h gaol on a charge as is presumed of housebreak-
ing. There was at that time a very good harper, also blind,
called Higgins, who was of a respectable family, in Tyrawley,
Gouoty Mayo, and who travelled in a better style than
most others of the fraternity ; he, bearing of keenan'a
mishap, posted down to Omagh, where hie appearance and
retinue readily procured him admission to the gaol. The
gaoler waa from home, his wife loved music and cordials,
uiese harpers, too, knew how to humour the amiable weak-
nesses of one who bad been ooce a beauty. The result
may be imagined. The blind men stole the keys out of
her pockets, while oppressed with love and mnsic, made
the turnkeys drunk, and while Higgina stayed behind like
another Orpheus charming Cerberus with his lyre, £eenaQ
'marched out by moonlight merrily' with Higgins' boy
CD his back to guide him over a ford of the Strule (the
river fiowt close vmder the gaol walls). He took his route
direct to Kilymoon again, scaled the walls once more and
finally after commitment for 'the ladder business,' as
O'Neill calls it, and a narrow escape at the County Arizes
carried off his Juliet and married her.
" Keenan after hia marriage emigrated to the States where
hia French wife proved unfaithful."
This ia the most interesting anecdote recorded of Hugh
Hisfina.
127
ANNALS OF THE IBISH HABPEBS
Daniel Black from the Coanty Derry was blind, and
sang to the harp. He chiefly frequented the houae of a
Mr Hejland, Gleudar^h, near Antrim. No anecdotes are
given relating to him. Bunting visited him in 1796 shortly
before his death, which occurred when he was about eighty.
Patrick Quinn, one of the youngest harpers present at
Belfast, belonged to Fortadown, County Armagh. His master
had been Patrick LindeD of the Fews, County Armagh, " a
distinguished performer and poet" Arthur O'Neill tried
to secure the presence of Linden at the Harp Festival, and
gave him clothes to atteod in. Linden had met O'Oarolan
in his time, and was acquainted with ceitain of the poets
who had written the Gaelic words of famous Ulster songs.
How he disappointed O'Neill will be read in the " Memoir."
Quinn was the only harper present at Belfast who
attempted to play " Patrick's Day," and was very proud of
having "fixed it," as he said "for the harp." He was
selected to play at the Carolan Celebration in the Botonda,
Dublin, 1809, and was afterwards patronised by Bernard
Trotter, who engaged him to appear at entertainments given
at his residence in Clontarf. Quinn sat in an arbour with his
harp and delighted the guests. Miss Trotter took a sketch
of him amid these picturesque surroundings. Returning to
the north Quinn was so prond of his performances that he
refused ever after to play the violin at wakes and merry
meetings, though he bad previously made considerable
earnings in this way. Quinn was about forty-seven in
1792, and was blind.
Charles Byrne, who was about eighty at the time of the
£birp Festival, is without doubt the Charles Bereen mentioned
in CNeill's " Memoir " as a competitor at the Granard " Balls."
Bunting in his notes 1840 remarks that he was not distin-
guished as a performer, but had an extraordinary fund of
songs and anecdotes. O'Keill, moreover, tells as tliat Bereen
128
THE LAST HABFERS
ID his youth had acted as guide to hia blind uncle. The
latter we take to be the Bereen, for whom O'Oarolan had Buch
an antipathy, and concerning whom an amusing anecdote ia
recorded by O'Neill He was a native of County Leitrim, and
from a letter, preHsrved among our manuscripts, we learn some
farther particulars r^arding him. The letter was written
by a Mr O'lteilly, belonging to near Scarva, County Down.
Hia sister waa ihe lady referred to by Dr MacDonnell aa the
last person who received harp lesaona through the medium
of Irish. It would seem that Cb&rlea Byrne had been her
instructor, and that she had made a portrait sketch of him.
The Beillys of Scarva were a particularly hospitable
family. An account of a visit to their bouse is preserved
in a scarce little volume, " Bic^raphy of the Blind," published
in Belfast in 1821. The author, a blind artisan called James
Wilson, with literaiy taste and some writing capacity, was
encouraged and helped to bring out " The lAves of FamooB
Blind Men from the Time of Homer Onward." In the Preface
he tells the story of bis own life and struggles from the day
when, as an orphan child, sick with smallpox, he was put
ashoro at the Fort of Belfast. The philanthropists of that
town had a particular tenderness for that form of human
affliction, and we understand, from Wilson's bi(%raphy, how
the fortunes of the Harp Society became associated with a
charitable effort to relieve the blind. In the account of his
life Wilson tells how his Belfast friends had him taught
upholstering, when an attempt to teach him music was
unsnccessfuL In the pursuit of his trade he went to Scarva.
He goes oa to say :
"The first of my literary acquaintances of any respecta-
bility was John Lushington Keilly of Scarva, to whose
&mily I was warmly recommended by a lady who introduced
me as a lover and composer of poetry. In this gentleman's
house I was employed for some time, and during my
residence there, I was not treated as a common workman,
129 I
ANNALS OF THE lEISH HAEPERS
bat was highly entertained hj Mr & Mrs Seilly, who had
the goodness to read to me by turne, whilst I was at work,
and is their absence a person was appointed to supply their
place; here was a fine library where I first met with
Spenaer's Faerie Queem. When I left home I did not
expect to remain at Scarva beyond three or four weeks at
tanhest, bat sach was the partiality of that worthy family
for me, that I was detained there for nearly three months.
On taking leave of my benefaotors Mrs fieilly observed that
I onght not to be tired of them as they were not tired of me."
Such was the hospitable home in which old Charles
Byrne was a welcome visitor. Thoagh he was not blind, he
was very likely read to also, if not entirely taken up with
singing and reciting his own store of songs. The 1ett«r
already referred to follows:—
"8oARVA,l«(A^pni'40
L. B. Laud.
" Sib, — Doctor M'Bonnell expressed a wish that I should
let you see the enclosed slight sketch of Charles Byrne, a
native I believe of Gonnaught, who for many years visited
this house and the neighbourhood about Xmas, and was the
'last Minstrel' I can remember regalarly visiting this
country. He could speak Irish and sing in that language,
and my sister, who mode this sketch, used frequently to adapt
English words to some of his tunes, and altho' I may have
some of his tunes amongst my papers, I have not at this
moment any idea of where to look for them, else I should be
most happy to send you anything of the kind in my power,
according to Doctor M'Donnell's wish.
"The sketch I send, though very slight, is very like, and
brings the old man strongly to my mind. Should it be any
ase to yon in year proposed work I should be glad, but hope
you will have the goodness to return it when you have done
with it — 1 remain, with great respect your obedient
servant, J. M. Skuxt.
P^. — " Since I wrote the above Mrs Reilly has found one
of the songs I alluded to and which I hope yoa will also
retom."
130
CHARLES BYRNE.
{StitciiJ by Mia QRcilly. of Scania, 16/A August iBio.)
THE LAST HAIIFESS
Of William Garr, ^ed 15, the 0&I7 javenile Harper
present at Belfast, we hare no account further than that he
played " The Dawning of the Day."
This completes the list of harpers who attended the
FestivaL Bunting lost sight of none of them, as we learn
from his song indexes, of airs taken down from one or other
for several years after. Most remarkahle is the fact that
whilst O'Neill tells as that Rose Mooney perished miserably
as a victim to drink during the French invasion at Killala
in 1798, Bunting notes an air and Carolan's " Planxty Charles
Coote " as having been taken down from " Saee Mooney the
SarjxT in 1800."
Of other harpers, who were not present, from whom he
afterwards got songs, we hear of Patrick Linden of County
Armagh (Quinn's master), who gave him " Miss EEamilton,"
the composition of C. Lyons, harper to the Earl of Antrim
in 1702, and also "Sally Kelly," by Thomas Conuallon,
composed about 1660. Several airs were given hy D.
O'Donnell, harper. County Mayo, in 1803. Catherine Martin
of Mealh is mentioned as a good performer, who confined
herself to modem compositions hy Paiaon Stirling of Lui^n.
Bunting did not collect any of these.
In addition to preserving the music of the harpers an
attempt was made to secure their traditions and the
technology of their art Bunting made notes of every-
thing that was told him of the history of the airs, and
published particulars in his later volumes. In the 1840
publication he included a lengthy list of musical technical
terms iu Irish. These the great scholar, Eugene O'Gurry,
alludes to scornfully as apocryphal. A knotty problem
is thus propounded which it is beyond one's skill to pro-
nounce on. Bunting was so eager to be assured of accuracy
in his antiquarian research that it is hard to conceive of
him as being hoaxed into giving much of the space in
hia last and greatest collection to the publicatioa of a
131
ANNALS OF THE IRISH HARPERS
worthless vocabulary containing several himdreda of Irisli
words.
It is therefore necessary to give his own account of
how they were accnmulated, and this takes as back to
the Festival of 1792. In his 1840 Preface he writes :
"The Irish Harpers, when assembled ia Belfast ia 1792,
uniformly made use of technical terms designating the
several notes of the instrument and their various combina-
tions, shakes, moods, etc, which, although admirably
characteristic and descriptive in themselves, are alt<%ether
unlike the language of modern musicians, a language which
is well-known to have been invented at a comparatively
recent period by the continental nations. Had the Irish
derived their knowledge of music from nations malcing use
of the continental vocabulary, they would have received
the terms of Art employed by these nations into their own
language, either by adopting them absolutely, or by trans-
lating them into corresponding Irish phrases. The contrary
ia invariably found to be the case. Thus that combination
of notes termed a shake by the modem musicians is by
the Irish dominated ' barluith ' signifying activity of the
fingers; a beat again ia termed 'barloith heal anarde' or
'activity of finger ends striking upwards,' and a run of
execution ' Smith - mor,' or ' the great stream.' In like
manner, the principal times have their independent and
native designations, such as ' Cuigrath,' ' dirge time ' ;
■ Combradth,' ' lamentation time ' ; ' Cruaidhchlesadh,' ' heroic
time' ; ' Phnirt,' 'lesson time ' ; corresponding to the modem
terms. Adagio, Larghetto, Andante, and All^ro. So also
of the chorda, moods, keys, etc.
"The following collection of these native terms of art
was procured from the most distinguished of the Harpers
who met at Belfast in the year 1792.
"Their vast importance in establishing the antiquity of
the country's music was first pointed out to the Editor by
Dr James MacDonnell of that town, who zealoosly assisted
in forming the collection.
"The Harpers whose authority were chieSy relied on
132
THE LAST HARPERS
were, Hempson, O'Neill, Higgins, Fanning and Black. . . .
Although educated hj different masters (through the
medium of the Irish language alone) and in difTerent parts
of the country, they exhibited a perfect ^reement in all
their statements referring to the old traditions of the art
as their only authority, and professing themselves quite
at a loss to explain their method of playing by any other
terms.
"A general vocabulary of Irish musical terms, so far
as the Editor has been able to collect them from the remain-
ing authorities, will be found annexed. Botli collections
are no doubt imperfect ; for the sources of written informa-
tion on the subject are equally difficult of access and of
interpretation, and with respect to the traditionary state-
ments of the Harpers themselves, it must be recollected
that Irish music has been on the wane, at least since the
reign of Elizabeth, and that as the Belfast meeting was
in fact, the expiring flicker of the lamp Uiat once shed its
lustre over Christendom, the Editor cannot be expected
to have done more than catch some straggling rays, which
are atill, however, brilliant enough to show how illnstrious
an instniment the Irish harp has been in former ages."
We may add that in taking down Irish terms or names
of songs Bunting apelt phonetically in English character.
His rough notes show evidence of a keen ear for accent,
but GompletA ignorance of Irish methods of spelling. These
notes were deciphered in Irish character by skilled scribes,
such as Patrick Lynch, who was in or near Belfast from
1794 or 1795 up till 1803.
At a later date Cody, tutor to the Belfast Harp Society
from 1808 to 1813, was helpful.
At the actual time of the Harp Festi^ the Rev. Andrew
Bryson of Dnndalk had been invited to be present "as a
person skilled in the Irish langna^ and antiquities " ; ^ but
' Hembni of the tcboUrlj Bttmh familj wcr« instnimeiiUl in lafing
some nniqna Irish tales and poeniB. A collection of Gaelic poems and tales
tmuoribed bj one of the BryMiis was iDSpected bj Dr Doug las Hyde in the
133
AXKALS OF THE IBISH HABPEBS
we have no record of his having attended, and ootbing
among the Banting papers to prove the presence ot an
Irish Bcholar. The atrocious spelling of the list of aiis
pablifihed in the Northern Star newspaper would seem to
show that neither Bryson, nor any one else competent to
write Irish, waa present. Who then took down in Irish
the list of technical terms supplied by the harpers in 1792,
which forms the basis ol the list published in 1&40?
Definite evidence is forthcoming in a letter of Dr
MaoDonnell's among the manuscripts undated and ansigned,
but evidently written with a number of others when
Banting was preparing his last publication and likely
when he woa on a visit to Belfast
Finerty, who is referred to as copying for Bunting, was,
without doubt, Toroas O'Fiannachta^ whose name appeals
on the title page of a translation into Irish of two of
Maria Edgewortb's short tales, published in 1833, by the
Ulster Gaelic Society. The book is dedicated to the Marqais
of Downshire in a letter signed by B. Bryce and B. S.
M'Adam as secretaries. Finerty was, in fact, the successor
of Lynch and Cody, for the lovers of the Irish music in
this northern town never n^lected the language. The
Doctor writes:
" If an air bad twenty names, I would preserve them all
in order to facilitate the identification of the tune. When
you go to Dublin get some person to collect all the musical
terms extant in any Irish lexicons or vocabularies ; and after
comparing them deliberately, with such as you have already
Collage Square Hdmodi, Belfut, and from it he copied & ruy rtmukKble
vertioD of " Deirdre " which hu been pnbliihed in Berliit, end which Dr Ejde
qnotea from in hie "Hiitotyof Irish Litentore." In the apringof 1911, Dr
Hjde leotoied in Dublin on & hitherto unknown Oniknlo muiuteript which
he had UDMrthed. The copjiet waa B17MI1 of Belfut, and the Iri^ was in
the dialect of Co. Antrim, where the home of the BryeoD family u aitnated
near Olenwherr; and in view of St Patrick's Slemiah.
134
THE LAST HAKPERS
taken down yoatBelf ; &nd with Uiose which I committed to
writing long ago (without a. proper koowledge of the sound
or sense), and which I sent to Finerty yesterday, you will
then be able to eee more distinctly whether they be worth
printing, and how they will bear upon the general subject
The really technical worda will not be found numerous in
any dictionary. You should be beside Finerty while he is
writing for you. What can be the reason that one particular
air is 80 associated in the mind with another, that if you are
endeavouring to recollect one, the other will often come into
Jour mind instead of it, and vice versa, thus, when I want to
um over ' Scots wha hae ' I often hit upon ' For aid lang
syne,' and instead of ' Ellen I roon ' I find ' God save the
King ' coming up — instead of ' A lovely Nun to a Friar came '
I get the Scotch air ' An gint thou wert mine thing.' "
From this letter we learn that the doctor was responsible
for making Bunting publish the vocabularies, that be had
himself taken down a number of them "long ago, without a
proper knowledge of the sound or sense," and that Bunting
had also taken some down which he was advised to compare
with words extant in Irish dictionaries. The doctor's own
list had been sent to Finerty, a competent Irish scholar, and
Bunting was told to be with Finerty for consultation, whilst
revising the spelling of these rough lists.
Taking this letter side by side with what we have quoted
with regard to the 1792 Harpets being the authority for the
vocabulary, we cannot but assume that Dr MacDonnell and
Bunting had taken down this information from the harpers
named, and had carefully preserved their notes.
The followiog letter, however, refers to material for the
moncal vocabulary having been sought out at a much later
time. It is undated, but was written during Bunting's visit
to Belfast
" Deab Buntdiq, — Since hearing from you, I have learned
from Pat Byrne, a harper, that all harpers prior to O'Neill,
having taught only through the medium of Irish, moat have
135
ANNALS OF THE IBISH HABFEBS
had namea for all the strokes or chorda on the harp. The
strings which are octaves to the sisters he said had others,
which he said were called ' Gilli ni fregragh ni Havlai,' the
servants of the answers to the sisters. He saya that Mise
Beill; of Scarvagh is the 0DI7 person whom he knows now
living who was taught to play throi^h the Irish langoage,
and he will endeavour to collect from her some te(£nical
terms — he spent a day with me and I brought Alexander
Mitchell to hear him. I hope you will soon report some
grogrees of your own to me. I met with an old man from
onnaught, called Thadens O'FIynn, from whom I took down
the words of some songs and traditional tales. I found that
this person had visited Mr Hardiman, and therefore I
shunned copying any of the pieces that had been printed in
Hardiman's two volumes. T wish you to be acquainted with
Mrs Colonel Gamer, the niece of Mr Halliday who is now in
Dablin, and baa a great enthusiasm about all Irish affairs.
She is acquainted with my sons, and has a taste for both
music and poetry. I hear a report that the Queen has
ordered a copy to be made for herself of ' The Annals of the
Four Masters.' I hope Mr Donnevan may be employed
about that. I should prefer bis, as far as I can judge, to all
others. Your friend, Mary, is going on with her old capers —
if she does not get to a good berth in the other world, there
can be no good in good works. — I am, Dear Bunting, your
sincere friend, J. MacDonnkll."
The reference to Miss Mary M'Cracken ia in relation to
her extravagance in acts of charity. As long as any sufferers,
widows, or orphans of the United Irishmen survived, she
considered it her duty to support and succour them.
We next come to the most interesting of the 1792
harpers, Arthur O'Neill, whose "Biography" has been
fortunately preserved, and is now for the first time
published.
CHAPTER XrV
HBHOIBS OF ARTHUR O'HEILL
IHTRODUCTORY
The name of Arthur O'Neill staoda out pre - eminently in
coDDection with the Harp Festival.
HempBon had been the best and most reliable performer
in the genuinely andent style, but O'Neill carried in his
memory the greatest store of recollections and of traditions
with regard to the harpers and composers of preceding
generations. Moreover, he became a permanent resident
in Belfast in 1808, when the first Harp Society was founded,
and Bunting had opportunities of prolonged conversation.
He retired on a little pension collected for him through
the exertions of Dr MacDonnell, when the society fell
through in 1813.
Dnriog his residence in Belfast he bad dictated his
Memoirs to a scribe, whom, by a letter of Bunting's we
find to have been one, Tom Hughes, a clerk in the
confidence of the M'Cracken family.
CNeill's Memoir has never been published, but in pre-
paring material for the 1840 volame, it was largely avedled
of by Samuel Fei^son for information and anecdotes.
As a testimony of O'Neill's good faith and reliability,
Dr James MacDonnell wrote the following letter for
pnhlication. The original is among oar MSS., carefnlly
137
ANKAIS OF THE IRISH HABFEBS
pinned into the front of tlie stoatlj-bonnd maonscript of
the Memoir.
"My dub Mb Bdntimo, — Id compliance with jour
request, I furnish jou with some particulars of my acquoiut-
auce with Mr Arthur O'Keill, the Irish Harper, from whom
70U procured some information prior to jour first Publication,
"M7 Father, who had a great fondoess for Music,
selected O'Neill as the moat proper person he then knew
to teach his children, and he lived in our house for two
years, in this capacity ; but my Father's death in 1780
pat an end to this study, which we fouud very difficult,
on account of the Teacher being blind. At that period,
almost all Harpers were blind, this profession having been
humanely reserved as a provision for the sons of reduced
Qentlemen, who happened to be blind, a calamity then
much more common than at present, owing to improvements
in the treatment of small-pox. During the two years he
lived in the house he was treated as a poor Gentleman —
had a servant — was a man of strong natural sense, pleasing
in his manners, and had acquired a considerable knowledge
of the common topics, so that he acquit himself very well
in mixed society, when encouraged to converse. He bad,
according to the customs of these itinerant musicians,
travelled several times all over Ireland, and became thereby
acquainted with several of the principal Families, who were
in the habit of entertaining such persons ; among these
were some Protestant families, but the Harpers frequented
mostly the homes of old Irish families, who had lost their
titles, or were reduced more or less in their estates. These
they would visit once in two or three years, and remain
from a week to a month in each house, and it was generally
a day of rejoicing among the young and the old, when
one of these itinerants appeared. Aa to the character of
O'Neill, I found him a perfectly safe companion, a man
of veracity and integrity, not at all addicted to boasting,
or pretending to anything extraordinary, he never affected
to compose or alter any tune, but played it exactly as he
had been taught by his Master, ' Hugh O'Neill,' for whom
be expressed always great veneration.
MKHOntS OF ABTHUB O'NEILL
"I think, thei«fore, yon may rely with the greatcit
confidence upon any information he gave you, as to the
technical names of the strings and parte of the harp, and
names of the different notes, or strokes npon the harp. He
was as iocapable as he wonld have been nninclined to have
invented these terms, which I think of great consequence
as connected with the literary History of Music ; and if
in the course of human events your singular ingenuity, zeal
and success, in discovering those ancient airs, shall be the
means of preserving CNeill's name also from oblivion, it
will always gratify me to remember that I was the means
of introducing yon to each other. — And I am, Dear Bunting,
most sincerely yours,
"J. MacDoknill.
" tiov. eHh '38, BiLr ABT."
A portrait sketch of AxUiur CNeill appears among the
plates published in the 1809 volume to illustrate the intro-
ductory article on the Harp.
It is in simple outline on a page which includes illustra-
tions of Grecian and I^ptian manipulators of varions
stringed instruments. Two characteristic sketches, from
which this little picture was derived, are among our manu-
scripts. In one O'Neill is represented as asking, "How
does my coat fit me, Mike?" And it will be seen that
our harper was very particular about his dress. At one
of the Granard festivals he lost his chance of the largest
money premium through looking better dressed and less
necessitous than his rival. Fanning. Mr John M'Cracken
was, without doubt, the artist of these sketches, as all the
plates in the 1809 volume are stated to be from his
drawings.
On the break up of the first Belfast Harp Society, O'Neill
retired to his native district on his pension of £30 a year.
This was, as already stated, in 1813. He died at Maydown,
County Armagh, 29th October 1816, at the age of eighty-
eight. Hia harp is preserved in the museum of the Belfast
139
ANNALS OF THE TEISH HAEPEES
Natural History and Philosophical Society, College Square
North, an institutioB which is in process of being acquired
by the mimicipal authorities. On the occasion of the
celebration of the centenary of the birth of Sir Samuel
Fetguson, an exhibition was held in the Municipal Art
Gallery, consisting of relics and manuscripts of the poet.
On this occasion O'Neill's harp was given an honoured
place in a glass case along with the MS. of Feiguson's essay,
in which many of the old harper's anecdotes were included.
Along with it was an exquisitely carved model facsimile
of the so-called harp of Brian Sorou, which O'Neill had
reatrung and played on in Limerick.
Arthur O'Neill's last resting-place is said to be in the
Churchyard of Eglish, which is between Armagh and
Dungannon in County Tyrone. Accompanied by the Bev.
W. T. Latimer, a well - known Ulster historian and
antiquarian, resident at Eglish, my sister visited this
churchyard and a careful search was made for the harper's
grave. Mr Latimer states that according to tradition it
waa somewhere about the middle of the churchyard, near
to a broken gravestone. Neither on the occasion of my
sister's visit nor at any time since has he been able to find
the broken stone, and surmises that the fragments have been
carried away, and with them the last landmark indicating
&e whereabouts of O'Neill's grave. That it had not been
marked by a headstone Mr Latimer concludes from the
following lines in a poem entitled BxiU Musings, written
by Patrick Mallon, a native of Eglish, in 1871.
" Oft haye I searched your graveyard
To scan the tombstonei old,
Where Friar prayed and fathers famed
Lie ia your sacred mould,
And Harpers sweet whose magic notes
Throughout the land were known
Keglect«d aleep in tranquil grave
Without a cross or stone."
UO
ARTHUR O'NEILL.
,-/./ liiijfa-.-iag by T. Smil
liEMOIRS OF AKTHUK O'NEILL
Considering tliat hia own grave is thas anmarked, O'Neill's
description of the grare of Carolan in the following Memoir
will have added pathos and significance !
BISTB, KDUCATION, ASD FIBBT JODRNET THBODGH IRELAND
I WAR bom (1737) in DramniBtad in the County of Tyrone.
My Father and Mother were named O'Neill,* their father
and mother's namea were O'Neill, and my Great Orand-
tather and Great Grandmother's names were O'Neill, and
as far as I can learn their Ancestors both male and female
were all named O'Neill, and at this day I have not a
relation, either male or female, from the first to the last
d^ree, to the beat of my lcnowle<^e, bat are all of the name
of O'NeUl.
In consequence of which there is a family pride amongst
the O'Neill'a, both rich and poor, of the County of Tyrone,
conceiving tbemselves descended from Hugh Con, and John
O'Neill of the Tyrone family, who were in no manner allied
with the O'Neill's of Shane's Castle,' in the County of
Antrim.
At the age of two yeai« I was diverting myself with a
' Huper CNcill ms a tnie OknimtD of the grwt Northern tribe, whoM
lins or ChiefUini gftva HTereign over-lorda to Inland for mtn; contnriM
with eoftree a break. The dominutoe of thg uoMtor of the O'Neilli luted
pnctloslly from the time of Con of the Hondrsd Fighta in the woond
oantorj to the rise of Brian Borou in the tenth, wbaa riralry with the
Southern tfibe weakened the centnl reg&l authority of the conntrj. It ia
moat intererting to note in the harper's aoconnt of the Uileaian gathering
at Killamej, how the deaoendauti of the Southern Clans hailed the preaenoe
of an O'Neill with delight In tha reign of Queen Elieaheth the old regal
olan had given two famona men to Ireland in the persone of Shane O'Neill
and the later Hugh .O'Neill, who was favourably remembered in Monater,
aa wae aUo Owen Eoe O'Nnll, leader of tbe Ulater army in the Iiiah
War.
' The Shane'a Oaetle O'Neilla of modeni daye, were not regarded ai true
rapremtatiTea of even the Olasdeboye Branoh of the great Northern family.
In thia pkraH the harper ecboa* popular opinion.
141
ANKAI5 OF THE IRISH HARPERS
peD-knife whicli pierced mj right eye, but was not daprived
of the sight of it immediately. I had a Grandmother who
loved me to excess, and she, perceiving my eye in danger,
sent everywhere for Oculists and Doctors to core me. I
had to submit to all their prescriptions, and the result was,
that in thdr efforts to cure one eye, I unfortunately lost
the sight of both, and I have now no doubt on my mind,
that if it were not for quacking I would have the perfect
use of both my eyes at present. But there is an old adage
in the Irish lai^age, the meaning of which is in English,
"The Grandmother's pet is an unlucky pet."
When I was about ten years old I commenced learning
to play on the Harp under Owen Eeenan of Augher, who
frequented my Father's house for about two years, to
instrnct me, and afterwards I attended him in Augher
about a year, at which I was allowed to play tolerably.
When I was about fifteen years old I commenced as an
itinerant musician. My first adventure was to Ballycostle,
where I fell in with Squire Boyd, whom I attended back-
wards and forwards occasionally. From Ballycostle I went
to Shane's Castle, where I was introduced by the agent, a
Mr O'Hora, as an O'Neill. I remained here a few days,
and was well pleased when leaving that place with the
treatment I received from Charles O'Neill,^ Esq., the then
proprietor.
From thence I made my way to Downpatrick, and
thence to Newry, Dundalk, and Navan, in which last place
I met Thady Elliott, who treated me very affectionately,
I being but young and he middle-aged, and universally
known as a Harper.
On Christmas Day Thady was to play at the Roman
Catholic Chapel of Navan. A homorous fellow took Thady
to a public-house and promised to give him a gallon of
1 The Bhkne's Outle (yNeilla wen aot j«t ennobled kt the tiois of the
turpeT'e fint Tuit.
142
MEMOIRS OF ARTHUR O'NEILL
wbiskej if he would rattle up " Planxty Connor " ^ at the
time of tiie Elevation, which Th&dy promised to do.
Accordinglj, when Mass commenced on Christmas Day,
Thady as usual played some Hacred aira until the Elevation,
when, tor the sake of the whiskey, and to be as good aa his
word, he lifted up " Planxty Connor." The Priest, who was
a good judge of music, knew the tune, but at that solemn
stage of the ceremony he could not speak to Thady, so to
show hie disapprobation he stamped violently where he
stood at the Altar, so much so that the people exclaimed
in Irish, " Dhar Dhiah thaw Soggart a dhounsa," that is " By
God, the Priest is dancing." However, after playing
"Planxty Connor" for some time, he resumed his uaual
airs ; but when Maes was over Thady was severely reproved
and diamissed,
A Harry Fitzsimmons, a harper, happened to be in a
gentleman's house in that quarter, who came that day to
Kavan to hear Mass, where I met him.
On Elliott's di^irace I was applied to by the priest to
succeed him in the chapel, which I declined, sot wishing
to supersede Thady, who was always very civil to me, but
I recommended Fitzsimmons, who readily accepted the
ofTer, borrowed my harp, and played during the remainder
of the Masses. In the interim, Thady, to be revenged of
him, went to his lodging, got a long staff, and, coming back
to the chapel, he offered any one of the congregation half of
the whiskey if they would tell him when Fitzsimmons was
coming out Some of them agreed to, but on the priest
coming out one fellow cried in Irish, " Tage, Shar Dhia, Shin
eh " (Thady, by God, there he is) ; with that Thady b^an to
lay about him furiously, and made one desperate olipe,
which struck the chapel door; if the priest had got it he
would not have said Mass for a long time. However,
Thady, who waa as great a devil as ever lived, was so much
1 " PUncty OcmiioT," & huttj dutoe tnae bj OaraUn.
143
ANKALS OF THE IRISH HAEPEBS
vexed with hiB mistake that he went to the chapel and
made a public apology for his behaviour.
After staying for aome time in and about Navan, I went
towards Dublin, from thence to Carlow, then to Wexfonl,
from that to Waterford, from that to EUkenny, from that
to Cloomel, from that back to Canick-on-Suir, where I fell
in with a gentleman who was blind, named Oliver Size, an
excellent harper who lived in great repute in that country.
Although an itinerant he dressed very gaudy, wearing
scarlet, and gold and silver lace. He treated me un-
commonly friendly. I remained some time in Carriok with
a cleigyman named Thewles. I crossed from Oarrick over
again to Eilkeony, and there became acquainted with the
Protestant and Boman Catholic Bishops. The Protestant
Bishop's name was Dr Morris, a native of the County of
Tyrone, who knew my father and some of my relations
there, and I believe it induced him to be more civil to me
than perhaps he otherwise would.
I frequently played in his Palace, and on my leaving
Kilkenny he gave me a recommendation to such of the
Clergy of bis own or other dioceses as he knew, but I
scarce made any use of them. I next came to Clonmel
again, then crossed the river Suir into the County Wateiford,
and went to Oappoquin, from that to Youghal, then to Cork,
in which place nothing particular occurred to me, not being
eighteen years old at that time.
Near Cork I went to a gentleman's named Coppinger ' of
great rank and consequence, who treated me as if I was the
son of a Prince of Ulster.
From Cork I went to Kin&ale, where I fell in with the
great Baron De Courcy, who kept a harper. I did not
' Thia Ikiiiil; ii itill proiolnaiit in IraUnd. Profenor W. Bntl«T, H.A.,
wiiting in the Oork Ardmologieai Jottmal on "Town Lift in UtdiMral
Inland," gniapi th«m with fftmiliia of Daniih diAMnt, uid uyi the Ant
OaplriBftsr appwn on the lilt of Hftjon in IIIB.
144
MEMOIRS OF ARTHUR O'NEILL
meet him but played npoc his harp, which was a very
fine one. I forgot to mention that when I was in Cork I
got acquainted with a gentleman of the name of Dowling,
who lived in Mallow Lane. He was rich hut miserly'. He
liked music ftud had a harp in his house that was made
in Belgrade;^ though it was as large as mine it did not
we^h more than twelve pounds.
Kot a man in Cork could tell what kind of wood it was
made oL I played on it myself and never heard anything
like it. I would have given him any money for it, but
he would not part wititi it. Indeed, at that time I had not
much money, and was as childish as when I set out. I was
fond of sweet tbiDgs, such as raisins, figs, pnmes, ginger-
bread, etc, of which I and my boy used to have ooi pockets
eternally crammed. At this time I am sure I had never
tasted whisky,
I travelled the principal part of the County Cork with-
out anything occurring worth relating. I spent one
Christmas with a gentlemEin that lived in Berefaaven, named
Murtagh MacOwen Sullivan,* who lived in a princely styl&
^ The offlccn of tbe Irish brigade had popnlirind Irish mnaie uid the
hwp. This initramBDt h*d evidently baan brought from ftbrMd by tome
ODD who bad nlatiTM in the Aoitriau laTvJGe. HnsBter waa mora in touch
with the Oontlnent thui any proTince in Ireland. [Stt note on Hurt^b
O'SdIUtu.)
* This was withoot doabt the funona Hnr^ Oge O'Snllivan whote
romantio history is dealt with in Fronde's novel, "The Two Chiers of
Ihinboy." Harpfr O'Neill RiTes his name somewhat inaconnlely ; he was
Unriogh, son of Murtagh, sou orOweo. He had Kerrsd in the Irinh Brigade
OD the ContiDent, and loaght at the Battle of Fontenoy, also «itb the young
ChsTalier in his forty -fire ctmpaign, end at GutlodeD. Froude, however,
ooDfdsa* him with another O'Sullifan, who was Prince Oharlie'e right-hand
mao. Retaming to his native territory of Berebaven, at the month of
Bantiy Biy, Uurty Oge loted as a reomiting agent Tor the Irish Biipde,
eip-irtiog shijiloailB of Cork and Kerr^niPU to Gil its ranks. The abnndinoe
ot wine in his mansion ■ould be sorountrd for by bit corstint communica-
tion with the CSontinent. Puxley, a Kevrnne offlcer, was placed at BeretiiiTsn
by the Bmiliafa Oavt-iDineiit to watob his proceedings. Conitant fends ended
l^ CSnlUran killing Pnzlsy, and being afterwards killed hiuselt Tha
145 K
ANNALS OF THE IRISH HARPEKS
iSy boj came to me one morning when in bed, and desired
me to blesa myaeU. I asked him "Why sot" "Och, air,"
says he, " there is a pipe of wine and two hogsheads of some
other liquor standing np in the hall, with the heads oat of
them, and a wooden cnp swimming in each, for any one
that likes to drink their skinfulL" I mention this merely
to record the hospitality of the gentlemen of the Province
of Mnnster, nor was this the only instance of it, as similar
occarrences happened to me daring the time I travelled
through that country.
Lord Eenmare,' the principal proprietor of Killarney,
d>tt of hi« dMth wu I7fi4. A flue Ument in Qaalia by ods of hb follo«r«n
e*ll«d ffOoDDcU is trulitioQaUy pnscrred, uid vu priiit«d iu the Cork
ArduBologiad Journal, 18B2, with mi tdminble biograph; of CVBnlliTui.
' Thongh Lord Eenmsra uumbled thia Uilwian gktheritig he km Dot
bfnuclf B reprsMutBtiTe of >dj Irieh oUd. Bia f^mjlf dudi wu Brawne,
and hi* tnoeitor bad aoqaired by purahaae asd by patent from Qjeen
Blizabet)! oertain lands of the HuCarthymore. The beir of tbe fint aattler
married a daughter of the great O'Sullivan of Beara, wbo deraodcd the
Oaatle of Daoboy after the defeat of Hagh O'Neill and O'Donnell at
Kliuale, ISUl. Afler this we do not find on tbe genealogical tree any
marriagee between the Brownee and the natiTe Irieh. The title of
Tiaeonnt Kenmare was conferred by Jamea II, on Sir Valentine Browne, a
Oolonel in hia army, and atannoh adherent of hit oaiiH, who forfeited bia
eatatea on the Williamite revalation. Hia heir recovered the landa, but tbe
title was not Tecogniaed in law till 1796, when the Browne of tbat time gave
proof of hia loyalty, on the I^enoh inraeion of Bantry Bay. The French
fleet were probably iDflneneed in their choioe of Bantty Bay aa a landing-
plaoe, becanse of the old familiarity of French seamen with tbe place during
the Irish Biigade reomiting era. Iriah Jacobites of tbe South were, however,
by no means favonrable to the French revolDtioniita.
Eenmare'a " Milesian Assembly, " taking place a few years after Culloden,
waa very likely a Jacobite muster; the deference shown to the name of
O'Neill, th.iagb only represented by a wandering harper, ia signiflcant of a
certtiin national and pohtioal Feeling. Those present bad donbtless in mind
Hugh O'NeiU'a Uague with the great Monster cbicftains before tiie dissnter
of Eiosale. It is recorded to the honour of Hunster that at a time when the
Boglish, by fomenting clan diSerenoea, found it eaiy to engage spies and
informers against the different ohieftains, no one could be tonnd to Inform
on the military tactics of O'Neill during his maroh to the Sooth. Such was
the reverence for his regal name.
146
MEMOIRS OF ABTHUR O'NEILL
the lake, and the sorronndiug coaotiy, took it into his head
about this tine to give a Milesian entertainment, that is, to
entertain at Christmas every Milesian that could be found
who bore the name of an Irish chieftain, which names
are the O'Neills, O'Briens, M'Carthys, 01>onotighaes,
O'DriscoUa, O'Connora, O'Dooovans, O'Sullivans, O'Connor
EBrrys, M'Namaraa, O'Keefes, O'Meaghers, O'Learya,
O'Callaghaoe, O'Connells, O'Mahonys, MouGillacuddys, and
some others of the Milesian race, that my memory at
present will not enable me to menbioD.
At the feast there were one or more of every name
already mentioned present, except an O'Neill. This Lord
Kenmare drew attention ta ** Och," saya my patron
Mortagh MacOwen O'Sullivan, "npon my honour, I can
soon fill up that gap for you, as I have now at my house
a young blind man from the North who plays very well
for bis years, and from what I understand from his own
lips he has a good claim to represent the O'Neills on this
occasion." I was sent for accordiugly, and without any
ceremony, seated myself amongst them in the great hall.
Hundreds of questions were asked me concerning my
descent, and on my giving satisfactory answers, I was
dubbed and deemed an O'Neill. They all said I had a good
face.
When dinner was announced, very near a hundred of the
O's and Macs took their seat. My poor self being blind,
I did what blind men generally do, I groped a vacancy
near the foot of the table. Such a noise arose of cutting
carving, roaring, laughing, shaking hands, and such language
as generally occurs between friends, who only see each other
once a year. While dinner was going on I was hobnobbed
by nearly every gentleman present. When Lord Eenmare
hobnobbed me he was pleased to aay, " O'Neill, yon should be
at the head of the table, as your ancestors were the original
Milesians of this Kingdom." "My Lord," I replied "it's
147
ANNALS OF THE IBISH HARPERS
no matter where an O'Neill sits, let it be at au^ part of the
table, wherever I am should be considered the head of it."
A nnivereal burst of applause ensued, and m^ arm was
almost shaken from my body by all present, and I believe
it was in conseq^aence of my reply to his Lordship, which
they remarked, came by instinct to an O'Neill, and damn the
O'Neill that ever was bom, or ever will yet be bom as well
as myself, but was drank by all the Milesians then present.
The gentleman who represented the O'Connor Kerry's after
dinner took my harp and to my astonishment played a
few tunes in t^e first style I ever heard by a gentleman
of fortune. He afterwards shifted the harp into my hands, I
played several tnnes for which I received some compliments.
But if King David came down to the hall of Lord Kenmare
and played his beet tunes for that set of gentlemen, they
would have made him stop the best tune he ever played
to drink to the real Irish. Harmony was lost whenever the
Fort and Claret began to box each other in decanters at
all parts of the tabl& Then the cloth was removed, and
the carpet was generally the bed for the principal part of
the visitors. At that time, too, it was a common thing to
drink a dram in the morning, to fulfil the old saying " The
dog that bit yon, a lock of his hair will cure yon."
As I mentioned that a MacGillacuddy was one of the
Milesians present, I was informed that once on a time, taking
his seat in Dublin for the Stage coach, he gave in his name
to a woman who kept the book, but she did not understand
him and seemed confused. "Give me the book, my good
woman," says he, " and I will enter it myself." Thank you,
Sir," says the female clerk, handing him the book, in which he
entered the name of " Jeffrey MacShefferov MacGillacuddy."
On looking it over she informed him that the children must
pay half price, thinking that the length of his name would
occupy the whole coach.
When I left Lord Kenmare I heard of the beauties of the
148
MEMOIRS OF ARTHUR O'NEILL
Lake, which I witnessed in every sense except seeing them,
and as far as my judgment, besides what I have been informed,
the lake cannot be sufficiently described, bat Oanick's,^ the
celebrated actor's, account came nearest to my imagination.
When I left tiie County Kerry my next tour was towards
Limerick. I met a Counsellor M'Namara, then Recorder of
Limerick, who invited me to his country house, about five
miles from the City, called Castle Connell, where I was
well received. In his house in Limerick, he had the skeleton
of Brian Borou's harp,* and in consequence of the national
esteem I held for the memory of its owner, I strung it, and
then tuned it ; it had not been strung for upwards of two
hundred years before. It was made of cedar. Counsellor
M'Namara requested me to tie it about my neck and play it
through that hospitable city, which I agreed to, being young
and strong.
The first tune I happened to strike on was " Ellen Oge,"
' Ouriok'i dMcription of Eillunej. — Hr W. J. Lumaat of Dublin, ■
well-knoiTD anthoritj on the hiitorj of Uu diama, dd being raferrad to wrote
me : " Althoogh I h>VB > thorongh knowledge of Ourick'a life story, Mid
hkTB read not only all he wrote bnt oTeiything of importance written abont
him, I nerer hewd of his desoription of Eillatney. He paid two rlrita
to Dnblin, Um first in 1742 and the bat in 1746. At the termination of each
he retoraed at once to London. He never acted elsewhere in Ireland. "
Arthur O'lTeill may hare heard lome other well-known actor's enlogy and
have attriboted it to Oaniek.
* An aneient and beaatifal inatmnient, popniarly known as Brian Bonra'a
harp, is now preserved in the Library of Trioity OoUege, Dublin. This was
the instrument whieh whs in Litneriek daring O'Neill'a visit The leading
antiqaarian authorities have not been able to decide as to its origin, bnt agree
there is no evidence save tradition to connect it with the famooi King Brian.
Petrie, in Banting's 1640 volume, wrote a learned diMertation and concludes
that thU was moat likely an eccleiiattioal harp at the ISth oentory, and the
property of an CNeitl. Kageoe O'Corry, in his " Hauners and Ouatome of the
Ancient Irish," brings forward evidence to prove that the harpwu likely one
which li famous in aneient Oaclie aong ai the harp of Donogh Oarbery
CBrien, a descendant and snoeeaaor of Sing Brian. {3u intertating refor-
enoeato it and trMslation of a poem in Dr SigsTMn'i rolmne nf " Tranalationi
from the Irish Bards of the Gael and Oall.")
ANNALS OF THE IRISH HAEPEES
oow generally called " SRVonreen Beelisb." I played several
other Irish tnneB, and was followed by a procession of
upwards of five htmdred people, both gentle and simple.
They seemed to be every one imbibed with the national
spirit, when they heard it was the inatmment that oar
celebrated Irish monarch played upon, before he routed
the Danes at Clontarf, oat of poor Erin. The Lord be
merciful to yoa Brian Borou. I hope in God, I will tune
yonr harp again in your presence in heaven, and if it sboold
be the case, upon my honoor and conscience I will not
play the tunes of the " Protestant Boys," or " July the First" ;
but I would willingly play " God Save the King " and that
would be yourself, Brian. I nnderatand that the Harp is
now in the Museum in Dublin College.
When I left the county of Limerick, I went through the
towns of Six Mile Bridge, Ennis, Gort, Athenree, Galwgy,
Longhrea, Tuam, Ballinasloe. I then crossed over to
Castlebar, Ballinrobe, Sligo, Leitrim, Carrick-on-Shannon,
Boacommon. Then crossed Bousky Bridge, which divides
Connaaght from Leineter, through which the Shannon runs ;
then to Longford, Granard, Cavan, Enniskillen, Ballyshannon,
Donegal, Mount Charles, then to Boylagh and the Bosses,^
Uie wildest country I aver was in.
I passed through all these towns without anything happen-
ing worthy of notice, but was treated in the usual manner as
well as itinerant harpers generally are. When at Boylagh I
was invited by a gentleman, called Nesbitt, to go with him to
a great wedding without my harp, for there were plenty of
pipers and fiddlers. There was no expense spared to make
it a grand wedding. The gentleman bridegroom's name
was M'Gunnigall, and the lady's name, O'Donnell. There
' A buTBD rookj diitriot on the w«t ooMt of Donegal. The Umi ii p«i-
loKtsd with IkkM, the m ■trami with wlaudi, a peculiar ngged appeannoe
beinggiTan to ths whole coantiT. The bliad harper could no^ of ooane, get
tUa impnwion, but would miM the shelter of a single tree, and be mnoh impitded
b; the rongh roada.
150
MEMOIRS OF ARTHUR O'NEILL
were as many people present as almost at any fair. All that
wished to stay over night had to eit up, the beds being
occupied by scores lying three-na-j/'hela (through other).
Mr Nesbitt and I sat up all night, and in the morning
he made a remarkable breakfast for the remaining guests.
He bamed a large quantity of whiskey in a wooden bowl,
put a pair of tongs across it when burning, and then be put
some canes of sugar-candy on the tonga, which was soon
dissolved into the whiskey, and then the party present drauk
of it with bread, for my part I never got a breakfast I liked
so well, as at that time I b^an to be partial to that native
cordial.
When I left Mr Nesbitt's, I was almost tired of rambling
through the kingdom, and formed the design of going home
to see them. I mnst remark that on my travels, described
in this narrative, I was always sure to be well treated, when
employed by any gentleman ; to eat of the best, exclusive of
drinking the best of liquors and wines, when I pleased, and
the different gratuities I generally received were handed to me
privately and genteelly. By the time I came to Dnngannon,
near my native place, I had some good clothes with some
little money saved.
After this, my first journey, I rested myself with my
parents for some time, improving myself iu my profession.
At this period, I was about twenty or tweuty-one years
of age (being now about sixty-seven), and it was in or about
the year of 1760 I finished this my first tour.
CHAPTER XV
HXHOmS 07 ABTHDB 0'K£ILL — SECOND JOVBNET
Atteb remainitig some years with my parents and friends in
and about Dungannon, I felt an itching for rambling once
more. The first place I went to was to a Colonel White of
Bedhill in the County of Cavao, with whom I remained seven
years, sometimes with ne^hboaring gentlemen, particularly
with a Mr Morris Thompson, who lived within a mile and a
half of the ColoDers; with him I spent every Saturday
night daring that period. I spent my time very pleasantly
between Colonel White and Mr Thompson. One Saturday
night in particular, I recollect Mr Thompson was so fond
of the tune of " Past one o'clock " that we both tite-A-tite
finished four bottles of good old wine, I playing the tune all
the time, except when lifting my hand to my head.
I formed the idea of remaining with the Colonel di^i-iug
his life, he being a bachelor, and some said a woman hater.
There was a felluw named William Saunderson, by origin
a relative of Colonel Saunderson's ; * this fellow conducted
all Colonel White's domestic concerns, though no scholar.
This fellow got jealous of me, as the Colonel was very fond
^ Tbi« ii the inceBtar of th« UDioaiit Istder uid ontor, tlis kte Colonal
BdmrdBanndenon, vboteatataehMb«ener«atedinPortadown, Co. Amugh,
in Hmrah ISIO, in reoofcoitioii ot hia political wrvice*, diiiiDg ths Parasllita
an. It 1* mt«r«ating to find thatlmbeeightoeDtbrnitary, tha Skundenoni,
who mkj be deeoribed m Oimnwclluu) eettlert, were pelmiw of the Iriih
hitptn.
152
MEMOIRS OF AIITHUR O'NEILL
of me, he was eternally tale-bearing to him. There was a
Mnnster girl named Winnie Barke, a housemaid there, on
whom this Sannderaon pressed his attentions. She very
pmdentlj resisted him, and to mortify him the more told
him that she preferred me. This bo ezaaperated him the
more, and he became so disagreeable to me, that I determined
to leave the Colonel, much gainst hia wilL
During the time I remaiDed with the Colonel I went to
Colonel Saonderson, about two miles distant, where I spent
about a month. On my return to Kedhill there was a
general report through the bouse that my room was haunted,
which the Colonel himself told me ; hut I insisted on sleep-
ing in the same room, which I did. I was not long in bed
when X heard a strong and curious noise in the chimney.
I bounced out of bed and groped to the place, thrust my
hands up, and caught a large owl which had a nest in the
chimney that by some means fell down. The owl lay
quiet all day, but endeayoured to get up by n^t, making a
frightfnl noise in the effort, which confirmed the superstitious
servants that it must be a ghost. However, I secured the
poor bird, and brought it down to the Colonel, who seemed
so well pleased that he put fiftoen guineas into my hand,
saying that he would not for anything have it reported that
his house was haunted.
When I left the Colonel I steered through the chief part
of the County of Cavan, from one gendeman's seat to
another, without carrying my own harp, as there was scarce
a gentleman's house I touched at, but there was one. The
harpers found in that country were Ned M'Cormac, James
M'Oovem, Owen Clarke, Patrick Maguire, Simon Hunter,
Phil Beilly, Francis Beilly, John Clarke, Ked Brady, Michael
Duigenan, Nelly Smith, Xate Martin, Paddy £err, and
Owen Corr. M'Cormac was by far the beat harper of them
alL In the Connty Tyrone I met three brothers, named
Ned, Jamee, and Frank M'AIeer, who all played very well
153
ANNALS OF THE IRISH HABPEBS
OD the harp, but Ned was far the best. He waa very
comical ; he lived upwards of five years in France in the
Irish Brigades, and would sometimes assame the title of
the celebrated " Leeriano from Paris," aa he coald speak Uie
French language very fluently. He was a slave to that
pernicious beverage that genenilly leaves itinerants in that
situation that they will either pledge their own or any
gentleman's harp sooner than want it. Pox on yon, Carolan,
you most certainly have been half mulvardered when yon
composed your receipt for drinking whiskey, otherwise I am
sure you would never have been a composer, as the effect of
that cordial had so happy an effect on you that your ideas
floated faster on you than they might have done, if there
was DO such liquor to be had.
At one time, when poor Ned M'Aleer assumed the name
of "Leeriano," be went Co a Counsellor Stewart of Eaillie-
borough, in the County Cavan, which time Hany Fitzsimmons,
the harper, was there. Leeriano was announced. He was
ordered to play in the haU as a specimen, where there were
some tailors then at work for the servants. Leeriano began
to play some Irish tunes, j^, reels, etc. Mrs Stewart, after
some time, came from the parlour to the hall, and told him
she waa much disappointed, as some of her own country-
men could excel him. M'Aleer, chagrined, started up and
exclaimed, "Madam, aa you were pleased to order me to
play in the hall, I played you tailors' and servants' music,
which would otherwise be different." " Damn your soul,
you trumping rascal," says one of the snips, bouncing off
the floor, and w&s going to destroy poor M'Aleer with his
goose, and if it was not for some interference, he was
determined to avenge the mighty insult. Fitzsimmons
knew M'Aleer, who undeceived Mrs Stewart respecting hia
foreign descent, and was probably jealous with him, aa
M'Aleer was much the best performer.
When I left the County Cavan, I rambled into the
164
^-^A
lUEMOIRS OF ARTHim O'NEILL
Connty of Tyrone, where I fell in occaaioDally with different
harpers. The first and best who claimed my attention was
poor Faddy Ryan, my dear lamented friend, next to Hi^h
O'Keill (hereinafter mentioned).
His father was a Monster man, and an excellent per-
former, and indeed Paddy was not inferior to any man I
ever heard on the harp. He was not blind, and, ezclnaiTe of
what I knew and was informed of him, he was pregnant
with sentiments of honour and unlimited friendship to every
person, which he evinced to me in a particular manner. Ha
was destitute of the low ideas of jealousy common amongst
itinerants ; he took pains, and taught me several tunes, which,
however, I now forget. I met my old master, Owen Keenan,
who was glad to see me ; I also met Hugh Quiu, who waa
taught by Con Lyons, He waa a gentleman's son, and as
sach conducted himself, and was one of the best of Lyon's
pupils. He was not blind, I met a John M'Crory, a blind
harper, who was a middling player. I met my namesake
P^gy CNeill, who played very decently on the harp. She
played all Carolan's "Planxtys" extremely well.
I met a Charles Byrne,' who was taught by his uncle on
the harp. This man had many advantages, not being blind.
He was a good player. He had an excellent memory, and
could recount all the little incidents that happened to him
during the time he led his blind ancle through the kingdom.
I heard him sing a good many Irish songs in an agreeable
style and pleasing voice.
Arthur Short was the next and last harper I met in the
County of Tyrone at this time. He was not quite blind.
The first specimen I heard of his abilities was at my father's
bouse. He was but an indifferent performer. This man
was very peevish, he generally travelled without a guide.
I was informed he was about a hnndred times married,
' Tho haipw who oompetad at Uib Qruud ud Bsirut FettinU, une-
tiniM aall«d BeireBi). {Sa Biognpby in elup, ziU.)
155
ANNAI£ OF THE IKISH HAKPEES
bat oevar heard how many children he had. I was
informed he had one son who was a performer, beyond
the common.
I knew and met Hugh Higgios ' in all my peregrinations.
He supported the character of a gentleman-harper, was
ancouunon genteel in his manners, and spared no expense
in hia dress. He travelled in such a manner as does and
will do credit to an Irish harper.
Hugh was bom in a place called Tyrally, in the County
of Mayo, of very decent parents i his mother's name was
Burke. He lost his sight at an early period, and was bound
to learu the harp, on which my dear deceased friend made
such a proficiency as to rank him one of the best I ever
heard.
When I left the Counties of Cavan, and Tyrone, I formed
a notion of going into the County of Boecomman in
Connaught, to see my dear friend Hugh O'Neill. We met
by appointment at a Mr M'Donnell's of Enockrantry in
that county, who saw an immensity of the first company to
be had.
There was at this time, which was about thirty years
ago, a patron, or kind of a meeting not unlike a fair, held in
that quarter, and Mr M'Donnell's house was full of company
when I met Hugh there. Amongst the rest of the guests
there was a young nobleman from Germany, named the
Marquis of Devianne. I was curious to know the cause of
his coming to Ireland, and was informed he fell in love
with a beautiful lady in his own country ; bat his parents
not approving of the match, they diverted his attention
from it by sending him over to this kingdom, to take
possession of an estate, in the County Soscommon in right
of his mother. From what I myself could guess, and from
what an accomplished countryman of my own told me, be
' A oompetitoT ftt B«lfut F«ati7»l, 179!. (Sm olup. xiu.)
166
MEMOIRS OF ARTHUR O'NEILL
waa erne of tlie most finiBhed uid eccompliabed yoaog
QoblemeD he ever saw.
Hugh and I played our very best tunes for a long time.
The Marquis was at a, loss how to call for the tune of
" Fast one o'clock," or " Thaw me ma Cullagh naur dhonrska
me," which he heard played somewhere before. He perceived
me going towards the door, and followed me, and informed
me that there was a man that made boots for him whose
name was Tommy MacCullough, and it was like the tune by
saying, " Tommy MacCullagh made boots for me." In the
broad way he pronouoced it, it was not unlike the Irish
name of it. I went in with him and played it, on which
be seemed uncommonly happy, and informed the company
all round it was bis choice.
This young nobleman was some time afterwards afflicted
with that ugly disease the small - pox, and Roderick
O'Connor,^ the then nominal Monarch of Connaught invited
the Marquis to his little palace at Cloonalis, where, notwith-
' The O'ConBon ware ths kisgly fkmilj of ConnBUghL At the timt of
tbe Normui ioTMion Bodertck O'Conner w«« Ard-ngb of Iraluid. Hupar
CNiill ii not ironical in bii mllanoQ to the ragftl dtle and the little paUee.
I^dj Horgui in her "UBmoin " tells of » dioQer-partr at which ihe mat the
O'Connor of her day, "ai lefptimata a rapnaeDtatiTe of the aapreme King*
of IrelaDd as anj aoTaisign on or off his throne at thi« moment in Europe,"
who behaved with gnat coolnen toward* another gneat, the Hononrable Hr
Ffrench, H.P. Preeaed by Lady Morf^an for an explanation, he ponred forth
■ bietory of wrong and robbery wroogbt bj the Ffrenchta. " Rut wbeo,"
•aid 1^7 Morgan, "did tbia happen! Lately!" "Well, not very long
■go, in tbalaat yeanortheraign ofQaeen Elizabeth." The title of O'Connor
Don ia still retained, and the late holder of it played a lomewbat prominent
part in politic*. In ISBG tbe Royal Bocisty of Aotiquariea of Ireland,
making a weatem torn, waa entertained by tbe O'Connor Don to a boapitable
Innaheon within the walls of Ballintnbber Ciatle. The O'Connor Don on
tbat da; waa jabilant over tbe fact that be bad quite recently aoqalrsrl this
caatle, whiohhad been out of the poaaaaaion of hia ramilyforalangthof time,
and it evidently delighted him, in hia oharacter of an Iiiah Chieftain, to feaat
apuarda of a hundred gneata within tbe anoeatral w.IIb. The marqaeeln
which the luncheon wa« eerved wu pitched iuaide thn rain.
167
ANNALS OF THE IBISH HABFERS
•Unding every exertioo of the faculty, he died at the age
of about twenty-two or three of that disorder.
At this time I went no further into Coooaught, and
made my way home again through the County of Leitrim,
where I met a John Sneyd, but a very indlffisrent harper.
In oooseqaence of his being a great thief, ao much ao that
he got the nickname of Long Glue-fingered Jack (he being
very tall), I avoided him.
I then made the beat of my way to Charles Fanning's
father's house, whore I met father and son, with whom
I remained about three weeks very happy, during which
time I attended many weddings and haulings home, where
the national customs were all supported with the usual
conviviality incident to the circumstances and abilities of
the parties.
I next came into the County of Cavan, and visited my
old friend. Colonel White, who received me very well My
old enemy Saunderson was there also, who affected some
friendship to me. I next visited my old haunts in that
county, and taught some scholars there, one of the best
of whom was a Biddy Beilly, who was blind, who played
very prettily before 1 quit that county. I next came into
the County of Tyrone, and made my way home to my
parents, whom I found alive and well. My mother was
curious to know whether I saved any money; but my
father seemed well content, if I returned whole and clean.
I was, after this second return from rambling, almost
stationary between the Counties of Cavan and Tyrone, so
much so that I spent eighteen successive Christmas days
at the house of a Phihp O'Keilly of the County of Cavan,
without meeting with any harper worth notice but some
of those already mentioned.
I forgot to mention in its proper place, like many other
of my mistakes, that when I was perambulating part of
the County of Antrim I stopped at the G-lenns, near which
158
MEMOIBS OF AUTHUB O'NEILL
I called at the house of Miohael MacDonnell* and Elizabeth
MacDonoell (otherwise Stewart), hia wife. I was nncom-
monly well received, and the^ expressed a desire that their
three sons, Randal, James, and Alexander, should be taught
by me.
The hospitality, disinterested frieadship, and other
favours and attentions shown to me in their hospitable
mansioD called " Vawl iska " or Water - mouth, wss not
exceeded in all my peregrinations through this kingdom.
Bandal MacDonnell enjoyed all the sporting comforts
that romantic country admitted, and without adulation
(not caring a pin into whose hands these unconnected
Memoirs may fall) he was uncommonly abstemious from
the toys incident to the cbaae, fowling, etc. He made a
tolerable proficiency for his time on the harp. James (the
now senior doctor) made some proficiency also, bat he then
appeared to me to have a partiality for some other study,
and which, I am now happy to be informed, ranks him
amongst the class of his profession.
Alexander, the now junior doctor, made the beet attempt
of the three in my opinion, his juvenile years being much
in bi9 favour, and before I left him he played very hand-
somely. I cannot account how I acquired the friendship
of the three gentlemen above named, as it always was,
and now is, exercised towards me in the most unlimited
Long before my starting into the musical world there
were two performers on the harp that almost totally
eclipsed every one mentioned by me heretofore. The first
was Murphy, whose father was a hawker of his instrument,
> Ths father of Dr UacDomiBll was son of Alexuider MtcDoDnell, ion
of Coll— > Voulin or Coll of the Hill— who bad Isnda in County Antrim
■(tar tba daath of his funona father the Alaatair or Sir Alexander UaeDonnall,
]««der in the riainf; of Moatraas, killed at Cooonanou, Cotmtj Cork, in lflt7.
The doctor'! Utber lived near Olanarrif, County Antriin, and had been
twice msnied, Arthur O'Neill mantlonH hii bodb of two familie*.
159
ANNALS OF THE lEISH HAEPEKS
Bad an nnoommon poor dhoui (or devil) of a player, and,
aa far as I can learn, both father and son were both bom
in Leinater. But as for the son's excellence, I never heard
in mj travels ao much praise given to any harper by all
the musicians that heard him. He was well aware of his
abilities, and never spared an opportunity of boasting of
them. He was in France in the reign of Louis XIV., and
Murphy's fame reached the ears of that great monarch,
who Bent for him, and was so well pleased with his per-
formance that he rewarded him in a kingly manner, as
he himself said. He came home in the dress and style
of a great count. His father heard of his being in Dublin,
and at last made out where young Murphy was in high
company, who was so vexed at his father's shabby appear-
ance, that he veiy dutifully kicked the poor old man
downstairs.
ComeliuB Lyons was the other great performer, and a
very faociful composer, especially in his variations to the
tunes of " Eileen Aroon " " Colleena a vooh a thoo Shorsha "
(Girls, did you see George?) "Green Sleeves," "The Coolin,"
and several others.
He was a County Kerry man, and by all accounts he
was a superior character to Murphy as a gentleman, and
in his profession as good a performer. They were both
acquaintances of Carolan's, who could never abide Murphy
on account of his lofty impudence.
Carolan was one night in Castleblayney, in a public-
house, when Murphy strutted in, and made some acrimonious
speech against Carolan, saying that his compositions were
like "bones without beef."
" Damn me," says Carolan in a fret, " hut 111 compose
a tune before I quit you, and you may put what beef yon
please on the bones of it." With that he left his seat,
and cautiously stealing behind Mnrphy seized him by the
hair of his head, dragged, and kicked him through the room
160
MEMOIRS OF ARTBVB O'NEILL
unmeioifully. DariBg which time MQrphy'a screeches could
be heard at a great distanoe; Carolan sayiog to him all
the time he was roaring " put beef to that air, jan puppy."
Bnt for some interfereQce he would not have left a drop
in Mnrphy.
It was quite the reverse between Carolan and Lyons,
who were on the most intimate footing, as Lyons admired
Carolan and his works. By all I ever heard speak of him,
be was gentlemanly, civil, good-natured, and obliging, to all
descriptions, especially to brother harpers. Lyons was at
one time at the house of Mr Archdall, in the County
Fermanagh, at which time Carolan happened to be there,
and Lyons heard him composing the tune of " Mrs
Archdall," and as Carolan conld not see him, Lyons wrote
down the music, as fast as Carolan composed it, which was
but middling fafit, as on the harp Carolan was no great
oerformer. Mr Archdall and Lyons planned a joke, which
I ~>nated in the following manner.
'« was an itinerant harper called Charlie Berreen,'
tl uMfolan detested very much. Mr Archdall, knowing
this to be the case, threw up the window where they were
sitting, and exclaimed : " Upon my word, here is Berreen
coming," which vexed Carolan very much. But upon the
eipoatulation of Mr Archdall concerning hoepitality, and
the crime attached to the breach of it, Carolan consented to
his supposed admission.
Lyons had a servant named M'Dermott, who could
play exceeding well on the harp and a very humorous
fellow. Lyons and M'Dermott went into the hall, Lyons
took the harp, and M'Dermott placed himself behind
his master to answer any question Carolan might put
to the supposed Berreen, Carolan well knowing Lyon's
voice.
Lyons began to play the tune of "Mrs Archdall" in the
~_ _ I
ANNALS OF THE lEISH HAEPEES
poorest manner he could, to imitate Berreen, who was but
a poor petformer, and M'Dermott could well counterfeit his
voice. Oarolan began to prance and dance with madneBs
about the parlour, and roared out to the supposed Berreen
to know where he got the tune.
" Och," says M'Dermott, " I have that tone this ten
years and upwards."
" You are a damned liar and villain," exclaimed Carolan,
"and it it was the devil taught you, you have it only since
last Bight."
There was a public stocks near Mr Archdall's house,
and Carolan told Mr A that if Berreen was not
immediately put into them, he would never come near his
house, on which M'Dermott made a pretended loud and
strong resistance, but was dragged to the stocks, on which
he sat down, and a noise was made as of putting in his
legs. But Carolan was not yet satisfied without beating the
plagiarist, and made a great blow of his cane at him, which
M'Dermott avoided. At last Carolan suspected he was
deceived, and seemed so unhappy that Mr Arcbdall and
Lyons bad to explain the whole to him, on which he
laughed, and seemed well satisfied, then shook hands, and
thanked him for his usual good-humour.
The present Marchioness of Antrim's great-grandfather
and Lyons were almost inseparable. His Lordship was both
a wit and a poet, and delighted in the system of equality,
where vulgarity was not too gross. At one time he and
Lyons when in London heard of a famous Irish harper,
named Heffernan, that kept a tavern there. His Lordship
and Lyons went there, but beforehand they formed the
following i,lan.
" I'D call you cousin Burke," says his Lordship. " You
may either call me cousin Bandal, or My Lord, as you
please."
After ruling for some time, Heffernan was called up,
162
UEMOIBS OF ARTHUR O'lTEILL
vho was by this time well awaro of the dignity ot hia gneat,
bj the talk and liTery of hie Lordship's servants. When
HefTernan came into the room he was desired to bring in
his harp, and sit down, which was done.
Heffeman played a good many tones in a grand style,
bat his Lordship, wishing to astonish the landlord, called
upon his consin Bnrke to play a tune. The supposed cousin
made many apologies, but at length toob the harp and
played some of his best airs ; on which HefTernan exclaimed
aloud: "My Lord, you may call him cooain Burke, or what
cousin you please, but damn me but he plays upon Lyon's
What was extraordinary was that HefTernan never saw
Lyons before. His Lordship undeceived HefTernan, and
desired them to enjoy themselves ti^ether, and to challenge
the world on the harp ; he then retired to acme other
appointment.
In my travels I became acquainted with a Dominic
Hongan, I may say I had known him since I was twelve
years old. He was bom blind in the County of Tyrone,
and a real good harper. He was a Roman GathoUc I
presume my following reason will plead an apology for
mentioning his religion. He was a great economist, but
would spend money aa genteelly as any man occasionally.
He had three sons, Mark, John, and Terence, whom he
educated in the first style. Mark was educated for a priest,
and finished his studies in France, in the College of Lombard,
where be obtained upwards of forty preminms for hia trans-
lations of Greek into French. After he finished hia studies
be came home, but in consequence of his intense application
he fell into a decay, and died in his father's house in
Strabane.
John, the second son, was bred a physician, and practised
in and about Mooi^han, and the adjacent country, with good
reputation. About five years ago as he was returning from
163
ANKALS OF THE IRISH HARPERS
Uie racei of Middleton in MonaghaD in his gig he was upKt
and Bmasbed to pieces.
Terence, the third and yoongest sou, ia now Bishop of
Limerick, and was formerly Dean of Ardagh. He had a
good delivery, sung veil, and acquired great interest. He
and a priest O'Beime, who was Chaplain to Lord Fitzwilliam
when Lord-Lieutenant of Ireland, were promoted to their
present ranks of Proteetaot Bishops.
Now my reason for mentioning the Roman Catholic
persuasion is this, that the doctor and the bishop both read
their recantations ; the doctor before and the bishop after
their father's death. Ke in his lifetime used to travel the
north-west circuit with his harp, and at one time, as he was
playing for one of the Judges, he asked Dominic his reasons
for not speaking to his son, the doctor, since he turned
Protestant.
"My Lord," says Dominic, "I spared no expense on him
when he was unable to provide for himself ; and assure
your Lordship, I am no bigot ; bat I thiok it was his daty
to consult me before he changed his religion. It was not,
however, for the sake of religion he did so, but he fell in
love with a young lady who was a Protestant. She informed
him she could not have him as he was a Papist, on which
he read his recantation, and then demanded her hand, on
which, to his mortification, she scornfully informed him that
she would be sorry to marry a turncoat,"
These anecdotes I merely mention when speaking of
Dominick Mungan, without the slightest idea of offending the
two bishops, more especially as these are well-known facts.
When Carolan died he left an only son and three
daughters, and these lived in the County of Louth, The
celebrated Dean Delany^ delighted in Carolan so much,
■ TbB BcT. Patrick DaUuy, born in 1888, educated at Trinity College,
DuUla, bcoima a friend of Swift'e. In 17t3 Dr DeUnr, then a widower,
married Hn Mary De]snf, a widow of literary and locUl diitinCtioii. Tbey
164
MEMOIES OF ARTHUR (yNETLL
that he took joang Carolan by the hand with tiie intentioD of
opening asubacriptioQ for the purpose of defraying all expenBes
in reviving and recovering all his father's compositions.
Young Carolan was but a tolerable performer on the
harp, and totally destitute of sny talent tor composition.
However, the Dean never ceased until he obtained a aab-
scription to the amount of £1,600 or thereabouts, on
which yonng Carolan made some attempts to represent his
father; but his productions were scandalous, as I often
heard, and Master Carolan becoming tired of industry, after
humbugging the good-natured Dean for some time, formed
an acquaintance with another man's wife in Ballymabon
in the County of Longford, took her to London, where I
am informed he died, when the residue of the £t,60O
was spent, or otherwise disposed of between him and his
Dnlcinea. There is an immensity of ancient Irish music
lost in consequenoe of the attachment harpers latterly have
for modem tunes, which are now chiefly in vogue, the
national airs and tunes being confined to a few gentlemen
in the different provinces I have travelled through; and,
without the most distant idea of any view or interest, I
here declare that if it was not in consequence of the un-
precedented, and I may say truly inspired genius of a
gentleman of Belfast, whose name I will have occasion to
mention hereafter, the compositions of Dibden, and some
other modem composers would, in a very few years, be
the means of annihilating our dear Irish music
I again make bold to say, that when the gentleman I
allude to will be no more, his laborious exertions, to recover
liTed >t DelTille QlunsTin, Dahlia, till Dr DsUu; »u *ppoint«d Dean of
Dawn, whm thsy went to reiida in the north. Hn Delutj ii deBcribed ■>
" ttitohing At thirti and shifta for the poor &«k*d wntchea in tha neighhour-
hood," whilit cbMrsd hj tha mniio of har Iriah buper. Thia wia the moa
of Owolan nfamd to bj CNaill. The Dean diediu Bath, 1708, lira Delauj
nmnd tOl 178S.
' Edward Bustbg.
165
ANNALS OF THE IRISH HARPERS
and revive oar dying Irish maeic, shonld record him and
hia memory in a manner much beyond what my poor
abilities could attempt to dictate. I heard a few tones of
the gleanings of young Garolan played, which I thought
tolerably decent, but when I heard them and the chief
part of hia father's works played by the gentleman I aUuded
to I imagined myself in a manner enchanted.
There was a harper before my time, named Jerome
Duigenan, a native of the County of Leitrim (not blind), an
excellent Greek and Latin scholar, and a charming performer,
I heard namerous anecdotes of him, one of which happened
when he lived with a Colonel Jones at Drumshambo, a
representative in Parliament for the County Leitrim.
The Colonel went to Dnblin at the meeting of Parliament,
where he fell in company with an English noblemaa, who
brought a Welsh harper with him, who played very well.
Having played some tunes before the Colonel, the nobleman
asked him if be ever heard so sweet a singer. "Yes,"
replied the Colonel, " and that a man who never wears either
linen or woollen."
"I will bet yon a hundred guineas," says the noble-
man, " you can't produce anyone that can exceed my harper."
The bet being taken up, the Colonel wrote immediately for
Duigenan to Drumshambo, to oome with all speed to Dublin,
and to bring hia harp and bis suit of cauthic, that is, a dress
made of beaten rushes with something like a caddy or plaid
of the same stufT.
Duigenan came post haste, and on his arrival in Dublin
went to the Colonel's lodgings, who acquainted Jeremy and
a great number of the members of the House of Commons
with the nature of the bet
The members requested it should be decided in the Parlia-
ment House before business commenced. The two harpers
performed before the members, and it was uuanimonsly
decided in Doigenan's favoor, particularly by the English
166
MEMOIES OF ARTHUR O'NEILL
noblemaa who exclaimed, " Damn yon, wh; don't yoa wear
better clothes I " " Och," says DDigenao, " I lost my all by
a law-snit, and my old nurse for spite won't let me wear
any other clothes."
"Damn me, bat you shall," says the nobleman, and
then putting a guinea in his own hat he carried it round
through the other members, who every one threw in a
guinea each, so that the hat was nearly half full, and the
sum was put into Duigenan's pocket. . . . Duigenan was
in the full canthic,^ dress, and wore a cap of the same
stuff, shaped like a sugar loaf, with many tassels. He was
a tall, handsome man, and looked very well in it. Poor
Jeremy contrived to spend the chief part of his money
before he left Dublin.
I knew an Ackland Eeane,* a blind harper, a native of
Drogbeda, who was taught by Lyons, and an ezcellent per-
former. He travelled the chief part of the continent as he
informed me. He played for the pretender in Rome, from
thence be travelled into France, and thence to Spain, in
which last place he was uncommonly well received and
treated. He might have been happy, if it had not been for
his great attachment to drinking, by which means he lost all
his consequence.
At first the Irish in Madrid dressed him like a Spanish
Don, with a servant, and he was introduced to his most
Catholic Majesty, and played for him. The King had some
notion of settling a pension on him in compliment to the
Irish ; but in consequence of his turning out to be an
' A uikUrial woTen of tb« pith of niihes. A dnu of atraw lutd bj tba
Ken7 ooantr; people in nutdc ipons hw been added to the ooUeolioii of the
Nstional Huunm, Dnblin, Mr Oeorge Coffej, dtreotor or the Iriih eeotion
■ima at UlnatTatlng the tbllc-cnitanu of modern day* m well •• pn-hiatorio,
and BQOient life. Thii nuh dnet haa » high oonioal o*p, like that worn
bj Jerome Dnigenan.
■ Eohlin Eeaoa, i«., Aoklud E«mm or Eohlin COahav, the aame pwaou
who ia ntrnti to in a Utor page aa having been preaented Willi the hup-k^
of BvT IMl O'Oalkui.
167
ANNALS OF THE IRISH HARPERS
irreclftimablo drunkard, tlie royal promtBe melted away into
oblivion. He then came to Bilboa. He always carried his
harp himself.
He was tall, strong and athletic, and absolntely beat the
post in expedition from Madrid to Bilboa. After staying
some time, he embarked for Ireland, where I frequently
met him
I was informed by Gen. Campbell in Armagh that Ackland
Keaae died in Scotland.
I forgot to mention Ln its proper place that the Duke of
Argyle* who lived in Qaeen Anne's reign, heard of the
celebrity of Hefiemao, the Loodon tavern - keeper that
played for Lord Antrim, and came to his tavern with a
large company to hear him play. The Dnke called for a
Scotch tnne, and EefferDan, being of a good Irish tarn of
miad, played him the " Uolden Star," which ia a very
plaintive Irish tnne. His Lordship said it was too
melancholy for a Scotch tune.
" Oh, my Lord," says Heffeman, " yon mnst know it was
composed since the Union." His allusion was to the Duke
being the counterpart of Lord Castlereagh in planning the
Union of Scotland, and that the " Golden Star" was the most
' Hie FarliunenUry Union of Scotland and England, whioh panad the
Engliih Hooae In March 1707, had been oppOMd in Scotland b; an eitra-
ordiuary amalgarnktioa of partin. Defoe, author of " Bobuuon Omaoe," who
WM present and witneued manyaf the scene* of mob TioUnoeand demonatiB-
lion Bgainiit the Uniau, writes: "It was the moat mouitront sight in the
world, to see the Jacobite and the Freebjlerian, tbe peraecnting preladc non.
jaron and the Cameroaian, the Papist and the reformed Froteitant parley
together. Join interasti and conosrt measnrei together." Amongit Soottiah
pe«n promoting the Union were the Dukei of QnieDBberry and Argyll. The
Dake of Hamilton, a Jaoobite, TigoroDsly led the oppotition tiO hia aotion ma
checked by a masaage from Jamea, the Elder Pretender, who, anzloDa to
oonoiliate hia half.ii«ter, Qoeeu Anna, signified that he had no objeotioil to
the iiit«D>leU Union.
Hafleman'tinDnandoiDaDiweriag thaDnke of Argyll, htdreferuioa to tba
fkoi that a aom of twenty tbootand pound* had beta Mat from tba Bn^iah
Parliament to b« dispenaed in aoftening opposition to the Ant of Union.
168
MEMOIRS OF ARTHUR O'NEILL
appropriate tune he could play for sach lovers as woald
barter their country'a honour for the temporary use of that
tangeaot bat nsefnl and corrupted metal The Duke started
up, and hastily quitted the tavern of the plain spoken
Hibernian with his company.
I wish I myself may have an opportunity of playing the
same tune for Lord Caatlereagh.
I knew a Michael Keane, a blind harper, who was bom in
the County Mayo in Connaught. He was a decent performer.
He left this country for America with a Qovemor Dohbs, of
Castle Dobbs, in the County of Antrim, who was appointed to
the Government of South Carolina, previous to the American
Independence. £eane returned from America, and Sir
Malby Crofton told this story of Keane, that when he and
some other ofificers were garrisoned at Fort Oswe^, and
had a party, Keane was with them, and quarrelled with
them, and beat them very well, and took a Miss Williams
from them alL
He left the Governor, and came bank to his native
country which he longed to see.
I have heard of Riree Dhol O'Keane' (Blind Roger
Keane). He was bom in the County of Berry, a gentleman
' Tha O'Cahmni were oqb of the most important cUni of the Voitli owing
■Uegiuioe to the O'KeiUe. Th< nfennee of the grut faatper, B017 O'Cahui,
tat the penoD of the O'Neill, u a greiter man than Jamai, King of Scotland
■nd England ii oomprehenaible to teaders of old Irleh biitoriokl UteratOTi.
When Brian O'Neill, tha last who wai acknowledged aa a King in Ireland,
died in battle againit the Normana in the atreett of Downpatriok, hii bod;
waaennoundedb; theoorpneoralt the leading wairiora of tike Clan O'Cahan.
Their territorr waain the preaent Connt; Derry, on theborden of Tir-Owen,
a distriot confiacated and planted by the London companiea. Jamea, when
King of SootUnd, bad aecretlj enoonraged and profitad by the war waged
bj Hngh O'Neill b^ Elinbeth, When he aaoended the throne of England,
it waa expaotad that he woold ahow favour to the Iriih Ohief ; thaae eipeota-
tioni prorad vain, and the landa of Ulster were eonflaeattd and the grtat
plantation took place. Tha mention of CNeill's name bj the harper ahoold
have bnn^t the blnah «f ihaue to tha King'a face. R017 lUl died in
Soatlaud at Oaatle E^lntonn about lUS.
169
ANNALS OF THE IRISH HAEPEES
of large property, and heir to an entire baron; io that
connty. He was titled by O'Neill " Eriagh Thee O'Caugban "
before he inherited his estates, which were Coleraine,
Garvagh, Newtown, Limavaddy, Kilreagh, and several others. '
He showed a strong inolinatioii for the harp, and by the
time he came to his estate he was an excellent performer.
He lived in a splendid style in those days (James tbe
Firsts' reign). He took a fancy to visit Scotland, where there
were a great many harpers. He took his retinue (or snite)
with him.
Amongst other visits (in the style of an Irish Chieftain),
he paid one to a Lady E^linton, and she, not knowing his rank,
in a peremptory manner, demanded a tune, which he declined,
as he only came to amnse her, and in an irritable manner
left tiie house. However, when she was informed of his
consequence, she eagerly contrived a reconciliation, and made
an Apologj.
The result was that he composed a tune for her ladyship,
the handsome tune of " Da Mihi Manum " ( " Give me your
hand " ), for which his fame reached through Scotland, and
came to the ears of the gun-powder prophet, James I.
of England, then the YI. of Scotland. O'Keane delighted
him so mnch, that the crabbed Monarch walked towards
him, and laid his band upon his shoulder, which one of
the courtiers then present observed to Boger. " What," says
0'£eane somewhat nettled, " a greater man than ever James
was, laid his hand on my shoulder." " Who is that ? " says
the King. " O'Neill, my liege," says £eane, standing up.
Be composed several fine tunes in Scotland, particularly
" Purth Athol," " Purth Gordon " (the Purths are uncommon
fine tunee). Furth means a lesson in music. I played them
once, but now forget them. Koger died in Scotland in a noble-
man's house, where he left his harp and sUver key to tune it^
' Boiy Dall'i harp-kej wm m«ii bj Dr JoluMon, when on hit tonr witli
Bonrtll is tha Hsbridei he eune to the home ot UioDounell of Bteit,
170
MEMOIRS OF ARTHUR O'NEILL
Aboat forty years after a bliDd harper, named Eoblin
Eeaae (a scholar of Lyons, vhom I often met, and an
excellent harper), went over to Scotland, and called at the
house where Bear's harp and key were, and the heir
of the deceased nobleman took a liking to Echlin, and
made him a present of the silver key, he being name-
sake to its former owner; but the dissipated rascal sold
it in Edinborgh and drank ihe money. Rory Ball was
never married.
I knew a John O'Oara well ; he was blind, and bom
in the County of Sligo, a very good performer. He was
called "The Bawn of Cool-a-vin," which, I was informed
by Charles O'Connor,^ the Irish antiquarian, had lost
bis estate by means of confiscation. He was oEfered part
but declined ; he then forfeited the whole. He was a
man of good qualifications. 1 met him in Bantry.
I met a Ned Magnire. He was blind. He was a native
of the Connty of Mayo. I was informed he played very
well. I never heard anyUiii^ particular of him, but that
he was drowned in the Shannon at Limerick.
I heard of a Matthew Ormsby, who was bom in the
' Cb«rlM O'Connor of Bcknagare. "Ho ma direct anoeator of tho
prawnt O'Connor Don," and iraa one of the mott diititiguuhad IriahmeD of
ttie dghtaenth oontar;.
Hg wu bom st Kilmactrarj, Ooiinty Sligo, on the Itt JsiiuaT;, 1710, ftod
died >t BelkiiAgue, County Boccommon, let July 17S1. He deTotsd hia life
to Irish ttodist, and to thi slevatiou of hit CfttboUo conutryniBn. He
coUeotod many funona Iriah mannaoripta, and wrote aeveral worka, the beat
known of which ia hia diaurtation on tha "History of Ireland." SaniDel
Johnaon wrote him two charmiiig letteia, whioh are preaerred. The Ber,
Mr Oontarina, tha nnola of Oliver Ooldamith, wu a biend of hia, and alao
ha wta a frlead and patron of the harper, O'Carolan, and he deolared t^t
Dowhera had Oarolan'a harp the aama power aa in hia honaa. O'Carohn'a
liup ia atill preaerred bj the O'Connor Don at Clanatia. Obarlaa Q'Oonnor'a
Tkloable l[3S.,inolnding tha fiiet part of the "Annala of tha Four Haateta,"
were porohaaed by the Uarqnia of Bnokingham, and afterwaida by Lord
Aahbnmham, and, finally, the Oonmmoit pntehaaed them and preaent«d
them to the Boyal Iriah Academy, where they are now.
171
ANNALS or THE IRISH HARPERS
Ooanty Sligo. I lieard ha was a good performer, but >o
peeviiji a oraatnie that there was no endnring him.
I knew Owen O'Donnell. He was bora in the Count; of
Roscommon. He was blind. He was a very genteel young
man.
I knew Andrew Victory. He waa bom in the Connty of
Lot^ord, and was blind. I met him in several places. He
played well, and dressed very well He told me he was
once in the County Roscommon, &t the house of MaoDermott
Rowe, who Bays to him one day, "Thonum an Dboul,"
"Where were yon the day the battle of Colloden was
fought?" (allading to the name of Victory.) "Och, sir,"
says Victory, "it was well for the Duke of Ciunberland I
was not there, otherwise he would not have the honour of
being called 'Billy, the Butcher.'"
I knew a NeUy Smith who was bom in the Connty
Cavan ; she was blind. I often heard her play, which was
tolerably weU.
In a former part of this narrative I observed that I
was almost stationary after my return from Munster and
Gonnaught, in and about the Connty Cavan, these many
years last post.
A little before the rebellion of 179S I formed the idea
of opening a school, which I proposed to my dear deceased
friend. Captain Snmmerville of Lough Sheelin, in the
County Cavan, who readily consented to erect one near
his own house, and also to get me three scholars, and to
have me live entirely with himself, but by means of the
subsequent disturbances and the captain's death the plan,
of course, fell to the ground.
CHAPTER XVI
MKMOIES OP AKTHUB O'NMLL— THIBD JOOTUrST
At the time I heard of the first ball in Grasard I was at
mj brother Ferdinand's at Glenarb in the Count; Tyrone,
from whence I pushed toward the County of Longford
withont meeting with anything particular, only toachiog at
some gentlemen's booses on my way. I met Faddy Kerr,
the harper, who was going to Granard also. 1 lemaioed
in and about Granard before the ball commeuced.
These annual Granard balls b^an in the following
manner. A Mr James Dungan, a native of Granard,
and a very extensive merchant, at that time residing in
Copenhagen in Benmart, having beard in some manner
that the gentlemen in Scotland encouraged annual meetings
or competitions among Eigblaod pipers, where premiums were
awarded to the best performers, Dungan, through national
ardour, anxious to preserve and support the original instru-
ment of his own country, remitted to his friends in and
about Granard a safScieut sum of money to defray the
expenses of the three celebrated balls held there, in the
years of X781, 1782, 1783.
"And it is to be lamented," says Dungan in a letter to
his friends, " that persons placed in high situations, who have
it in their power to do the most good by their rank and
wealth for their own country, are, I am sorry to hear, the
least disposed to do it — I will not attempt to say whether
by habit or inclination. I am informed they know nothing
173
AJINALS OF THE IRISH HAKPEBS
of Irish masic, or Irish misery only by the name, so great
are their desires to support modem English maeic, and I
consider my native country half a century behind Scotland
in encouraging and rewarding the best performers on the
bagpipe, which, if preferred to tiie wired harp, strongly evinces
our biste. The Welsh harp is encreasing. The Scotch
bagpipes are encreasing, but poor Erin's harp ia decreasing.
If I was amongst you it would not be the case. Farewell,
my friends, and I nope yon will amongst yourselves support
what I make bold to dictate to you.
" PJS. Why not make or establish a fund for the above
purpose ? I don't want yon to imitate the Scotch but the
ancient Irish. Adieu."
1781. — First Ball at Granabd
Harjptrs present
Charles Fanning Hugh Higgins
Arthur O'Neill Charley Berreen
I^trick Kerr Bose Mooney
Patrick Maguire
They all played their beet tunes. Charles Fanning got
first premium, ten guineas, for "The Coolin." I got the
second for " The Green W oods of Truagh " and " Mrs Crof ton,"
eight guineas \ and Bose Mooney got the third for " Planxty
Burke," five guineas. The Judges at the first ball were
excellent, and there was some deliberation about the first
premium between Fanning and me ; but in consequence of
my endeavouring to appear on this occasion in my very
best duds, they decided in favour of Charley, who was
careless in his dress, saying, at the same time, that he
wanted money more than I did ; however, I received many
handsome verbal complimenta, besides the eight guineas
premium. To the best of my opinion there were there, at
least, five hundred persons at the balL It was held in the
Market House of Granard. A Mr BniTowes was one of the
174
MEMOIRS OF ARTHTJB O'NEILL
Stewards, who was a tolerable judge of music, and who was
BO aof^ at the decision of the premiums, that he thrust
his cane through one of the windows. Mr Patrick Beilly
prepared the supper.
After this first ball I became a faTonrite in and about
Qranard, where I remained about four months, and my
company much sought for. I will not attempt to say how
I deserved such attention, only that I was then more
cautious of avoiding inebriation than the other harpers,
and kept as little of their company as possible.
On my way home from the County Loi^ford, I made
my way home, and stopped with Philip Beilly of Murrough,
in the County Cavan. This gentleman was the original
means, afterwards, of my coming to the Belfast ball, in
1792. With him I remained some months, and then came
to Archdeacon Caulfield's of Castle Cosby, with whom I
spent a very agreeable fortnight, without anything particular
occurring; and from thence I visited all the gentlemen
alternately hereinbefore named in and about the counties
of Cavan, Armagh, Monaghan, and Tyrone, where I remained
until the approach of the period of the second Qranard ball
in June 1782.
G-RANABD, SXCOND BALL
About the month of March I made my way again for
Qranard, and as usual touched again at all my acquaint-
ances (gentlemen's houses),
I remained some time with a Bnv. Mr Sneyd, Rector
of Lurgan, County Cavan, successor to Parson Sterling,' the
' Fusoa Sterling wu & notad performgr on the pipei, uid oompoter u
well. Lady Hoi^n in her " UtmotrB" mentioni aDOtber piper panon in
the petaon of the Kev. Cbarlea Hacklin, nepbew of the dramatiit of that
name. He loat a onney tbraugh having nied the pipes in the palpit to
play out hie oonftregation. Dr W. H. Qrattan Flood recorda id hia " Hietoi;
of Iriah Mniic " an inetanoe of an Bngliah viiitoi to the Oatholio Biahop of
176
ANKALS OF THE IRISH HARPEBS
Mlebrated bag-piper, and compoaer of the tone of "Hie
Priest of Largaa"; from thence to Captain flemiag'B of
Bellville, County Cav&n, where I remaiced about three
weeka.
He was a Captain of Yolnnteers, a lover of music,
ancommonly hospitable, but not a proficient in music ; from
thence to Liamore to Cosby Nesbitt's — ^he was a fituBbed
gentleman in every respect, with whom I remained a few
days. I then went into the County of Loi^ord, and went
to see Captain Boyers of Mount Pleasant, with whom I
chiefly remained until the ball was preparing, for he was
one of the most comical geniuses I ever met He Icnew
something of music, and delighted in the harp, although
be played very well on the violin.
Second Ball. — Harpers preamt
Charles Fanning Hugh Higgins
Arthur O'Neill Ned MacDermott Bowe
Paddy Kerr Rose Mooney
Pat Maguire Eate Martin.
Charley Berreen
who all played as usual their best tunes ; but the premiums
were reduced this year — the first to eight guineas, the
second to six guineas, and the third to four. Charley
Fanning got the first, I got the second, and Rose Mooney
got the third. Charles Fanning got the first for "The
Coolin " again ; I got the second for the " Green Woods of
Tru^h " and the " Fairy Queen." Rose Mooney got the
third premium, but I do not remember for what tunes.
Higgins got somehow huffed, and retired without playing
a single tune.
EilmoTB bfluig nmoh aoriuiMd to aee a,moag tha portraita of former biahopa
of tha dtocaae, t piotnra of a piper in HighUnd ooatuma. Ea wu informed
that ihia r«preMDted Bishop Biohardaon, who, bsiug a akilled moaioiau
ftvailad himaaLf of thia di^aiie in ordar to vieit and conaole hia aMtteied
fiook.
176
MEMOIES OF ABTHITE Q-NEIIX
A Major Smith, who knew nothing of mosic, was
appointed one of the judgea. He declared, " By heaven, they
made me a jadge, because they knew I knew nothing abont
it" The company at the second ball was more numerous
than the first, and when all was over I just took the same
route home, in a similar manner as described on my return
from the first. Only on this, my second return, I stopped at
a Peter Connell's of Granary in the County of Ijougford. He
could sing and compose well, and no end to his hospitality.
Mr Connell had a hnmorouB servant, named Jack Hart,
who auDg both English and Irish songs, as well as Mr
Owenson, the comedian, coold.'
One day, taking his master's horses to be shod, he had to
pass by Captain Beyer's door, and was accosted by the
Captain. Hart was in the meantime singing the song of
" Speak Teongh " with a chorus of " Obber Roo." " Blast
yon come in," says Boyers, " until I give yon a dram." On this
Hart alighted, and walked into Boyer's house, who had at
' Hr OwmaDD, the oomsdian, wu ft popnlmr Dabtin MtoT, <uid
for k tima thongh duutroiulj' Aotor Uanager in the N«tion&l TfasatM
Hoalo Hkll ind wu in the height of hii fkme daring the Wirring
Tolontcer »iid OrstttD't Parlisment en of hiitorj. A Coniuaght nun
bj Ujrth, he itudigd imder Dr Wugan of Westmiii8t«r Abbey, ntarning
to wttl* in Ireland in 1770. He wu one of the fint to {Dtroduae s piauoforte
to %a Irish ftndicuM, thia wu in 1785. Hia forte lay in ■inging old Iriah aonp
in ohaiBotei, and he had a vaat collection of them. Hia maiioal taleot waa
toberitedbjhUdaoghler, SydnejOirenton, author of "The Wild Irish Girl,"
■nd other novela, and known to fame, and in aociaty, u Lady Morgan. In her
ohattj jonmal there are manj raferenoea to her father's traditional itjle
of ainging. Hii lut appearance on the atags waa in an operetta written hj
her in oollabontion with Tom Oooke, enLtled " The Whim of the Homeat,"
whleh wu prodnced on Cth Uarch 1907, the LoTd-Lieutenant atteudiug
in itate. In 1802, Owenion bad been mainly InatrunientAl in founding
th* Kilkenny Theatre, in wblob Tbomu Moore later on graon! the boarda,
andwtkerehs wooed and won hii wifs, B««aie Djka, an actress in the theatrs.
HediedinHajlS13, tad wu paaiionatsl; moornedby hiadanghler, who wu
diitingniahad bj loyal affaaHon to bar family throogb all changsa of fortnne.
SydiMf Omnsan had toma eonMpondsnoe with Arthnr O'NaiU, who is
nhmd to in one of the not** to hw nonl, " The Wild Iritb Oiil."
177 M
ANNALS OF THE IRISH HARPERS
that time ten gallons of abrub in the houae, and between
singiog and drinking, tbey never stopped, for the space
of two days and two nighta, and never parted, nntil the
shrub was entirely finished Mr Connell, in the meantime,
im^ned his man and horsea to be loat, bat when the shmb
was out Hart brought the horses to the farriers to be shod,
and retnmed home the third day, Mr Connell, of coarse,
brought him to acconnt for his conduct Hart, without
reserve, told him the whole story, and about the ten gallons of
shrub. " Damn your body," says Connell, "did you finish it ? "
" Damn me, if we didn't, with a little help," says Hart
" Why then, damn me, but I forgive you, and I never would,
if yon had left a single drop," says Mr Connell.
Mr Connell informed me afterwards that Boyers was
very parsimonious only when seeing company, when he
would spare no expense to entertain the guests.
Always on my return from Granard balls, I stopped
at Counsellor Edgeworth's of Edgeworthatown,^ where I
was well entertained.
I taught two young ladies. Miss Farrel and Miss Flunket,
' OoanBBllor Bdgeworth of Edgeworthstown here referred tu WM &ther of
Hui»Edgeworth,thefkmoiu norelist. Nooe of her Btories m»kei uintenat-
ingsndromkntiaresdiiigu hereditionof herfkthet'a "Life." It ia largely ui
Atttobiographj by Bichard Bdgeworth hinualf, in vhicb he talli the itory of
his fonr mamegea, and deacribes the eccentric wooing of his Mend, 'ntomaa
Day, lathor of " BaudTord and Merton," a philosopher of the aehool of
RoiUKAn. One of his venturee, when m eeaiofa of a wife, wwthe adoption of
an orphan girl Babrina, whom he endsBTonred to train according to hie ideals.
Thii incident haa been dramitited recently in the lucoeteliU play, " Hica and
Hen."
Edgeworth wat Bometbing of a acientiat and inventor, antidpatad tho
bi^ole, and gave mnoh attention to developing a iyit«m of transmitting news
by eemaphore signale. Before the dayi of telsgnphy, with French luvauooH
threatening, hie scheme wu of pnetieal importance. InlTSSKdgaworthutd
hii numerooB family, including hii fonrth wife, vacated the bmily aaat on the
approBoh of the innirgent force*. On their retnm home the; found tint
thoDgh the hoiuehad been viiitad nothing bad bean itolen orevendiabirbed,
Edge worth'a philanthropic eflbrti to improve thaoondition of the eonntry had
aa endeared bin to the peasantry. In advanoed age ha caught hia last illnsaa
178
SCEMOIRS OF ARTHUR O'NETLL
who lived'in tluit neighbourhood, to pla; on the harp. Miaa
Fsrrell played handsomely ; MisB Plnnket, middling.
I next came to a Cormack O'Neill's of Fardrum-hon
in the County Longford. He was an eccentric genius,
and kept a house not unlike an Academy auoh as dancing
masters, music - masters, classical masters of modem
languages, he having four sons and three daughters on
whom he spared no expense. I next went to Felix O'Neill's
of Edinbawn, and Toby Peyton's of Laheen, both in the
Connty Leitrim, where nothing but hospitality occurred
to me, next to Colonel Gore's of Woodford, and thence to
Andrew O'Rourke's of Oreevy of County Leitrim, where I
got a tetter from my friend, Hngh O'Neill, inviting me to
come to him to a Mr Brown's of Cloonfad (at Churchland).
I accordingly came to him, and after some time he
informed me that a Connor 0'£elly, a harp maker, was
making one for him. As this O'Kelly was a very peevish
man, he requested me to go and endeavour to keep him
in temper.
While the harp was making, (or fear of diaappointment,
I attended on Kelly, and by means of treats and jokes he
contrived to finish it; but it had to be taken asunder, as
when it was tuned the treble was thought too long. It bad
through ovcr-Biertioii and eipoaun whan iuvntigkting the bogs uid awMupi
of the Midlondiaf IieUnd, with a view to their nclmnatiaii.
Id a letter to Lady Morgan, after the publicadoD of her novel, " The
Wild Irish Qirl," 180S, Hr Edgeworth wrote; "I belieTe that aome of
Uie barpen you mention were at the Harpers' Prize Ball at Qranard near
thia place in 17S2 or 17S3. One female harper of the name of Bridget
obtuaed the leoond prize. Fallon carried off the first. I think I hare
heard the donble-headed man. H; daughter published an etsay on the
■ubjeot of that prize in an obsonre newspaper, of which we hare no copy."
This letter is inaomrate, and therefore very likely Ur Edgevorth had not
met old O'lTeill dnriug hi* visit to his hoiue after the Qranard balls, and his
raooUaotiona were from heaitay. "Bridget" is, of ooane, Boae Hoooey ;
"Fallan," Fanning. Olfaill is not mentjoned, Init he poeiibly inspired
Harim Edgeworth's newapaper article.
179
AiniTAXS OF THE IRISH HAEPEES
tor^ strings, thirty-five in general being considered enough.
The harp was a second time pat together, and turned out
the best one I ever heard oi played upon. It then only
wanted varnishing to make it a nonsuch, and a Mrs Keaae
of Carrick-on-Shannon, a Japanner, wanted three guineas to
varnish and bumieh it, which Hugh declined. I, being well
acquainted in Longford, informed her I conid get it done
there, and cheaper, which he agreed to. I took the harp
then accordingly, and a Mr O'SuUivan finished it properly.
This O'SuUivan was like many other mechanics of merit,
a harem-soarem good-natured fellow, with whom I spent
a hnmoroua time while he was finishing the harp.
When returning back to Mr Brown's where Hugh was
waiting for me, I met a new married lady on the road, a
Mrs Hamilton of £ill-ne-Carragh, who invited me to her
honse. I went to it, where I played several tunes. She was
much inclined to detain me, but I was impatient to see
Hugh, and never stopped tUl I came to him. He was
impatient to try the harp, and when he got it into his bands
he played the tune of " Limerick's Lamentation," or Tom
Oonlan's ^ stolen tune, which he called " Lochaber No More "
in Scotland. He was so well pleased that he exclaimed,
"It answers my utmost fancy."
I remained at Mr Brown's with Hngh about a month,
where nothing particular occurred to me, but I was highly
entertained with hospitality and good nature.
I next rambled to Charles O'Connor's of Ballinagar, in
I Xom Coulan OTOonnallBii, bom aboat 1010 at Cloonmftbon, Ooimty Sligo,
oompOMr of "The Diwning of tha Day," "Iha Ooldau Stu," "Lots in
SMnt," "BoQnj Jwn," "The Jointan MoU; St Oeorga." The air of
'Idmeriok'a lAmantatioD," knawo in Sootluid as "Loohabar No Uon,"
waa often miitalcBiilr aCtribntad to him. Ha likely belp«d to natiualiM it
in that coouttr, bat tha Belfatt hkrpen, one and all, attribated it to ona
Mile* Bully, a Oaran man, who liTed at the aama time u Oonuelau.
William OonneUao, a yonnger brothar, wai alao a bupar, and oompoMd
"Lady Ivaigh," "Saebh Eellj," and "Molly M 'Alpine," the latter air wa«
adopted by Hoare aa " Bamembn the Oloriaa of Brian tb • Brare,"
180
MEMOIRS OF ARTHUH O'NEILL
the County of Roscommon, the celebrated Irish antiquarian,
and, I may add, historian, who was one of the most learned
meu that Ireland has produced.
Hugh and I were invited there, and indeed we exerted
our mutual abilities to please that worthy gentleman, with
our best tonea and aits. Mr O'Connor was himself an
excellent performer on the harp, and one of the best
amateurs I ever heard. We stopped with him about a
fortnight, and in consequence of the uncommon attention
that was paid us by that gentleman, we only imagined it
like a summer's day. I parted Hugh at Ballinagar.
I next came to Charles White's in the County Sligo,
where as usual in that hospitable province I experienced
the highest respect and attention. I remained a few
days at this time, but often visited him from the year
1785 till 1795 OS he was one of my greatest favourites.
He died in 1795 and left an only son Robert White, the
real counterpart of hia father, whom I also visited until
1803, in which year he died.
I went to a Mr James Irvine's of Streamstown, County
Sligo. I am totally at a loss bow to describe that gentle-
man's manner of living at his own house and among his
tenantry. He bad an ample fortune. He was an amateur.
He had four sons and three daughters, who were all pro-
ficient in music, no instrument was unknown to them.
There was at one time a meeting in hia house of forty-
six musicians, who played in the following order: —
The three Mies Irvinee at the piano
3
Ujeelf at the harp
1
Gentlemen flntee ....
6
Gent Violoncellos ....
2
Common pipers ....
10
Gent, fiddlers ....
20
Gent, clarionete ....
4
AlfNALS OF THE IRISH HARPERS
At Un hour this geatlem&n's cuatomuy meeting! vers
fi&iahed tome guests contiguous to theii own places went
home, but those who lived some miles off remained, and in
order to accommodate them Mr and Mrs Irvine lay on
chairs that night in the parlour, for m; own part I never
spent a more agreeable night, either in bed or oat of bed.
I next went to the town of Sligo, where I slept that
night, and next morning went to a Parson Fhibbs (a credit
to the cloth) of Ardlaharly, near Ballymote. He loved music,
and encouraged it, and he played well on that wired
instrument called the dulcimer. If it was not that I
wanted to see my friends, I could have lived with him
for ever.
I went from thence to Captain Irvine's of Tondrago,
County Sligo, a finished gentleman. He was a Captain of
volnnteers for sixteen years, and in the Queen of Hungary's
service be distinguished himself as an IiishmaD, not inferior
to the celebrated Count Lacy.'
From Mr Irvine's I came to Mrs Crofton's of Longford
(the name of her seat) in the County Sl^ She was the
mother of Sir Malby Crofton, and the lady for whom
Carolan composed the fine tuue of "Mrs Crofton." I^dy
Moi^n mentions her frequently in her " Memoirs," and (he
Crofton's were relatives of Lady Morgan's father.
I remained there only a few days, and then came to
Parson Hawks, of Screen, in the County Sligo. He was
very like Parson Phibbs in gentility, and every other
respect He detained me a week.
From thence I came to Mr Jones of Ameyglass, next to
Arthur Cooper's of Tanzyhill, next to Mr White's of
Ballintogher, all in the County Sligo, where I generally
stopped a few days, and was uncommonly well treated,
without anything particular happening to me.
' Sw O'Oolltghmu'i "Hutoi7oftheIiiiliBrigide,"fDrKGOi]iitorieTenl
offican otUtd I«of.
182
MEMOIRS OF ARTHUR ONEILL
I nest came into the County Leittim to a Gomelins
ODonnell's of Larkfield, vhere I again met my dear Hugh
O'Neill, who was there on a visit being contigaous to bis
own farm, in the Connty Roscommon, and near the
boandariea of the Counties of Roscommon and Leitrim.
He broaght me back with him to his farm oE Lis Connor,
or Fort Connor (Lis signifies a Fort). He walked me throagh
it, and described the beauties, and could point out the beet
put of it as well as a man that had the gift of eyeaigh^ and
when done he says to me : " Arthur yoa are my relation and
favourite, and if you should survive me, this farm shall be
yonra (accidents excepted, in case I should not make a
Will) see this field, see that field, look at all, Arthur, which
shall be yours."
" I see them very plainly, Hugh," says I, " and thank yon,
my friend."
He then brought me to his own house, where we spent
that night very happy. He then brought me to Mr Jameson,
his Landlord, that good landlord who would not accept of
Hugh's annual rent of £20, but also gave him the receipt,
of £20 a year more, on the same concern.
From thence I went to Tom M'Qovem's of Port-na-
laddin, of County Leitrim. Ko end to his good-nature.
He was a genteel, sabstantial farmer, and lived in a style
beyond the common. I next came into the County Fermanagh,
and spent a few nights with Sir James Colville, very happily.
I next came into the County Tyrone, and stopped at
Ned Conway's, near Newton-Stewart. He had a daughter
that played the harp nncommon well Miss Conway and
I were closeted together for three weeks, exchanging
tnnea.
She gave me the tnne of " Dr Hart," and I gave her the
tone of "Madge Malone" and several other tunes mutually,
that I cannot remember at present, but left the house on
the best of terms.
183
ANNALS OF THE lEISH HARPERS
I proceeded now to another Ned Conway'B of Montreloney,
in the County Tyrone who received me as well aa his name-
sake, and indeed my intention was to spend my ChriatmaB
with Mr Blackall of Ballinascreen in the Coanty Derry, but
was prevented in consequence of the snow, that fell at that
period bo much so that the deepest quarries were level with
the high road, in consequence of which many trayellers
fell victims to their ignorance of the roads.
I next went to Mr Blackall's, who excused me in conse-
quence of the fatality of the snow, and rejoiced that I
escaped it. This was in the year of 1786 or 1786.
From that I came to Ballymenagh, Coanty Tyrone, and
from thence I went to see my brother Ferdinand, of Glenarb,
County Tyrone, near Caledon, when resting my bones between
riding and walking, I spent near six months, going to and
visiting Mr Strong of Fairview, Captain Neville of Mount
Irvine, the Rev. Br Clarke, Hector of Clonfeacle, Captain
Houston of Tillydowy, Sir W. Bichardson of Augher, Dean
Keating of Clogher, who would not let me touch a harp in
his house, but indulged me in playing the enticing game of
backgammon, whom I always excelled, blind as I waa.
Thence I went to Mr Stack's of Stacka Qrove, County
Monaghan, where I remained eight or ten days, and again
returned to my brother Ferdinand, and continued in and
about that neighbourhood until the time for the third
Granard Ball was announced, and I heard that James
Dungan of ever respected memory, the author and instigator
of the three Balls, would attend there. He came particularly
from Copenhagen (amongst other business) to superintend
the last and greatest Irish National Ball, respecting harpers,
that ever was held in this country,
I met Mr Dungan there, and will speak of him in course,
on the oonolnsion of the third Ball in Gtranard. Moreover,
I will endeavour to show in these Memoirs, how folly and
fashion will neglect the real merits of those who take pains,
184
MEMOIBS OF ABTHUB O'NEILL
and prefer to encoarage the works of a Sir John Plagiariat,
or a Sir John Selector, or a Sir John lonovator, or a Sir
John StevenaoD.^ If my friend hereinafter named should
seek for the empty title of a Eoight Bachelor, he might be
sure of being appointed to it if a Townaeod or Entlaud were
to visit this country, but this Barren Knight should in my
opinion confine himself to his businesB in Dublin, and not
interfere with Mr Bunting, and I shall also mdeavour to
draw a contrast between the reriver and the restorer of
ancient Irish music and a titled upstart that attempts to
plaster bis works upon those who will not take pains to
look for the works of Mr B .
After remaining with my friends in and about the
County Tyrone, in the usual manner for about nine months,
I then began to prepare myself for the third Oranard Ball,
and set out accordingly, and trucked or stopped at almost
every house mentioned in my going to the first and second
ball until I got to Mr James O'Beilly's of Higginstown,
County Longford, with whom I remained till the ball
commenced, when the following harpers and a few more
that I cannot recollect attended, tie: —
Charles Fanning Charles Berreen
Arthur O'Neill Ned MacDermott Bowe
Hugh Higgins Bose Mooney
Lawrence Eeane Kate Martin
James Duncan
The premiums were the same as at the second ball, that
is, eight guineas the first, six guineas the second, and four
guineas the third. Fanning always deservedly got the first,
I got the second, and poor Rose Mooney, as usual, got the
third.
A gentleman named Miles Keane railed uncommonly
' Sir John Stennfon, a foihiookble tMobar uil orguilit of St Fttrick's
Cktbadtml, Dnblin. A M«nd of Thranu MooTe Kid tmiigcr of Moore's
Irith MOcdUt. Knighted in 1808.
ANNALS OF THE IRISH HARPEBS
about the distribntioD of the pmniums, and swore a gnat
oath, that it was the most nefariona decuion he ever
witnessed. I don't know what he meant, but heard the
ezpreesion. Lord and Lady Longford attended this boll,
and the meeting was vastly more Dumeroas than the two
former ones. Quality from forty miles attended, and there
was not a houae in t^ town but was filled with ladies and
gentlemen, and the town was like a horse fair, aa there was
not stabling for the twentieth part that came. There were
at least a thonsand people at the balL
In consequence of the harpers who received no
premiums being formerly n^lected, I hinted a subscrip-
tion, which was well received and performed, and indeed,
on distributing the colIecti(m, their proportion exceeded our
preminms.
This ball was nearly being spoiled, by means of a Bernard
Beilly of Ballymorris, who entertained some antipathy to
Mr Dnngan, and took every pains to destroy the harmony
of the balL Mr Dnngan, the father of the three Balls, came
over from Copenhagen, as before mentioned, to see how the
third and last Ball was conducted, and be got so much
disgusted with the indecorous manners of the Stewards and
others who 8nperint«nded the management of it, that he did
not attend during the performance, but only at supper.
There was a very handsome ode composed for Mr Dungan
on his arrival at Granard, but through jealousy or some
other motive he never saw either the ode or the composer.
I dined with Mr Dungan the day after the Ball at the
Widow Reilly's in Granard. I do not know how I deserved
his attention, but I should sit next to him, and dined
with him in di^rent places. He acquired admiration and
respect everywhere he visited in consequence of his polished
manners and gentlemanly accomplisbments. He remained
some time in and about Qranard, and I understand he is
now alive and well in Copenhagen.
186
MEMOIRS OF ARTHUR O'NEILL
If there waa a Dungan and a Banting in each
province in this kingdom it is more easily imagined than
my poor abilities can describe, to what a degree of
grandeur the Irish harp, and the music incident to it
voald arrive.
OHAPTEE XVII
HKlfOIBS or AfiTHUR O'NEILL — COKCLDSION
When the third Sail was over I took mj leave of Duncan
and Keane, two of the harpers, but I forgot to mention that
before the Ball opened Rose Moone7 pledged her harp,
petticoat, and cloak. When I make this remark of poor
Soae, it is with no ludicrous intention of exposing hw
faults, which should chiefly be attributed to her maid,
Mary, whose uncommon desire for drinking was unlimited,
and toloDg advantage of her mistress's blindness, she always
when drink was wanting, pawned any article on which she
could raise half a pint, therefore poor Rose I acquit you of
any meanness on your own part, as your guides and mine
have often lead us into hobbles, which are inseparable from
poor blind harpers, and afterwards laughed at us ; but we
in general think it is better for people in every station
in life to have about them the rogue they know, rather
than the rc^e they don't know.
I made it a point to remain in and about O^ranard till I
understood that Mr Dungan was for returning to Copenhagen,
and it may be imagined that I say too much of myself, bat
he took me aside when parting, exchanged mutual friend-
ship, and when done shaking hands, I discovered the weight
of six guineas in mine. He added, at the same time, that
I deserved the first premium as he was informed, he not
attending, and he hoped I would not be offended at his
188
MEMOIBS OF ABTHUR OTSnULL
makmg my reward superior to Fanning'B. I never ex-
perienced the same feelii^ oa partii^ with any friend
before, except Hugh O'Neill
Id coming home I differed from the route taken after
the second Ball I went through a skirt of the County of
Westmeath, into the County Cavan, to see mj dear friend
Captain Summerville, where frequent repetition of his promise
to support me to the last was our chief conversation, and
from his seat of Lough Sheelan Lodge, I pushed into the
County of Meath, and stopped at the seats of Peter Cruise
(nephew to Carolan's favourite Bridget Cruise) ' Mr James
Caiolan's of Carriokmacroas, County Monaghau. I was
much disappointed in speaking to this gentleman, as well
aa to a great number of the Cardans in that county, where
the celebrated Terence Carolan, the composer, was bom, that
not one of them would claim kindred to him, which in my
opinion would be no disgrace to Orpheus Apollo, or King
David ; from thence to Mr Plunkett's of Bock - Savage,
County Monaghau, thence to Dundalk, County Louth, to
see my relation Owen O'Keill, Captain Byrne of Castletown,
and George and Harry Byma Although these gentlemen
had each separate houaea, they never would dine asunder,
for if the Captain was invited anywhere Cteorge and Harry
were sure to be there, and if George and Harry were
asked to dine, the three brothers were sure to be together.
They were all married, and their brotherly affection was the
theme of the discoarse of the surrounding country.
From Dundalk I crossed the Fews Mountains. I had a
young man, a guide, named Paddy Ward, who threatened to
' A lady with whom O'Okroku the hftrpcr fell in lovt in bU yonth, ftnd
in vhow honour he <Mmpo«ed > well 'known long. It ia related th>t not
hantig m«t her for twenty jean O'Caiolan wu making ■ pilgrimage to the
EamoDB Bt Patrick'* Porgatiny of Longh Derg, Donegal. Wliilit giTing hia
hand to soma pilgrima who were alighting Iram the ferry boat, he ohanoed
to take a Udy'i hand, and holding it ixelaimed, "By the woid of mygoaiip
tUa ii the hand of Bridgst Oroiie."
ANNALS OF THE IRISH HABPEBS
quit me in conBequeiice of the uncommon shower of snow,
that fell after we left Newtownhamilton. Poor fellow, he
was nearly famished (though a youngster) with cold, and I
would not part him till we came to a public-house, that was
kept by a Mrs M'ArdelL We scarcely entered when all our
apparent wanta were enquired into, and by the uncommon
exertions of that good woman we were in a short time
relieved from the fat^es of our long and cold journey, I
in my turn to gratify her played till all was bine, and the
next morning when preparing for depart, I, of course, called
(or the reckoning. " Mr O'Neill," says Mrs M'Ardell, " do
you want a walloping ? " (meaning a beating), and she gave
me a gentle blow oa the shoulder, saying, " There's a receipt
for you."
I next went to a priest O'Neill's of Ballymanab, near
Armagh, who was a relatioa of mine, and a real O'Neill.
It may be imi^ined that I mean to be partial to his
character when I say that in all my travels I never met his
superior in point of unprejudiced and unbigoted hospitality
of manners. He was a respected gentleman of hia order in
the altar and pulpit, and out of the pulpit, but them that
knew him could distinguish whether he was a priest, parson,
or country squire. I had some difficulty in getting away
from him, and when I did I went into Armagh, and
alternately visited Mrs Alford, Mr Jenning, Dr Hamilton,
and others, whom I now foi^t
I went from Armagh to Caledon, and then again to my
brother Ferdinand's, where, after polishing off the rust of
mind and care and fotigne, my next concern was to do
something for my guide, Ward. I hound him to a linen-
weaver, but, in consequence of the impression of rambling
he got under me for the space of four years, he quit the
treadles and heavy stays, and enlisted in a regiment then
recruiting in Caledon. Shortly after I went to the County
Gavan, and rambled as usnal, and paid my first respects
190
BfEMOIBS OF ARTHUR (VNEIIX
to mj dear, now deceased, friend. Captain SnmmerTille,
who received and treated me as formerly. It was almost
what is termed a hooee-warming. I spent abont three weeks
with him in the usual manner. From the Captain's I went
to Granard, where I parted my guide, who was well known
to the two Dr MacDonnelts of Belfast. He in some manner
acquired the nickname of Qrog. The Captain asked me the
reason of his being called Grog, my answer was : " G-rog is
insipid, and so is Paddy Fit^erald " (the boy's name). The
Captain then procured me a guide, to lead me as far as
Granard, and there I went to a Mr James (yfieilly's, where
I spent about two months very happily. He got me another
guide named Tom Hannen. He was about thirty-six years
of age. He was nine years in the service of the East India
Company, and, notwithstanding the vice and bad habits
incident to soldiering be was the most divested of little
dishonest tricks of any other guide I ever had, not excepting
Michael Hackett, my present guide.
When I was not employed poor Hannen would amuse
me with an account of his adventures, and he told me some
stories that were read to me since, amongst which be told
me the story of his being present at the burning of a Hindu
woman, a custom or law practised in that part of the East ;
that is when the husband dies the wife is to prepare herself to
be burned on a funeral pile of wood, and that all her relations
and friends attend on this solemn occasion to see tbe wife
accomplish the burnings without cowardice, and she is to
be dressed in her best attire, walks round the pile, and then
takes leave of all her relations and friends; she then eats
something that has the same effect as laudanum, and when
the effect arises she plunges herself into the pile, and her
nearest friends have bamboo poles in their hands, and when
the torch is set to the pile they rush forward to assist in
strangling or sutfocatiDg her before the flames can make
her screech or moan. This story poor Hannen told me. I
191
ANNAXS OF THE IRISH HARPERS
only meDtion it in a looae manner, well knowing that it
is mucli better described hy modem historians.
Hannen then next led me into the County Leitrim to
Andrew O'Rourke'e of Creevy in that county. He was a
gentleman of learning, wit, and humour, which three great
qualifications he never abused in any manner. As for the
first, he was capable of composing, and actually did compose,
several songs in Latin, English, and Irish, and played very
handsomely on the harp. His wit and humour were never
in my presence, nor ever to the best of my information and
belief, immodestly or indelicately exercised.
From his house I went to Toby Peyton's, for whom
Carolan composed "Planity Peyton," This gentleman had
a fine unencumbered estate, and, exclusive of the expenses
of groceries and spices, he spent the remainder of his income
in encouraging national diversions, particularly the harp and
other wired instruments.
He lived to the age of one hundred and four years, and
at the time he was one hundred he would mount his horse
as dexterous as a man of twenty, and be in the first at the
death of a fox or hara This gentleman's age I mention to
account for my visiting him, he belonging to Carolan's time,
which was long before mine.
Thence I crossed the Shannon, and went into the County
Roscommon again to Charles O'Connor's, the celebrated Irish
antiquarian, already mentioned. This celebrated character
always took the blind side of me in point of good-nature, as,
for example, when I would order my horse, and when I was
imagining myself mounting there was no horse, and, of
course, I had to return into his house, where laughing and
hospitality wae the apology he pleaded for my disappoint-
ment. At length I stole away from him to the house of
Patrick Brown of Cn^han^ of County Roscommon, about
' In QmUo Crnacliui «u the pUoe where stood the residenoe of Umtb,
the wHTior qnern who iovkded UUter lai wju oppnad by the hora
192
MEMOIRS OF ARTHUR O'NEILL
aeven miles uunder, and got the moat tmcommoD wetting
I ever experienced. Haonea, 1117 guide, was crying with
the wet and cold he suffered in that journey ; but my pride
in not availing myeelf of shelter was sufficiently punished,
for I was shortly sfterwarda afflicted by such a severe
riieamatism that I lost the power of two of my left-hand
fingers, notwithstanding which I went through all my old
acquaintances in that county, until I came into Qranaid
again, and there tumbled into Jemmy Reilly's, my old and
before - mentioned acquaintance. In consequence of the
affliction of the rheumatism, I felt myself uncommonly
unhappy in not being able to exercise my usual abilities
on the harp, and resolved to get home to Qlenarb as soon
as possible. Notwithstanding the resolution I formed, I
coald not resist the temptation of making a short cut to
Lough Sbeelan Lodge to see my dear (now deceased)
friend. Captain Somerville, the almost counterpart; of
Captain Westeura, of Bumper Hall, in the County
Meath.
Somerville was in this year, 1792, about fifty years of age,
and he, perceiving my misfortune of the fingers, amused me
with reading ; and on reading the Be^att NewtUtter^ to me
we found an advertisement inviting all the harpers in the
Ciwhnlain. Ths atarj of hn inTuioo u reUttd in ths Epic Tala of the
"Tun bo CokUgns," or "Oittle Bsid of Ooole;." Voniona in Engluh,
fonnded on this t>le, hsra been wrlttaa by Stftadiab O'Qndy, I^y Gregory,
Miw Etwnonr Hall, aoA in T»na by Mn A. W. Bnttoo.
1 Founded in 17S7 by Frsndi Joy, ia atiil in vigoroiu eiiftenee, and iud to
be the oldeat proTinoial ptper in Ireland. For aTarything relating to the
bictory of BelfMt and the North of Inland, the old filei of tbe NsaOeUer
afford an inTalnable sonraa of referenee. The most nearly oompleta set, ia in
poMBMion of the Linen Hall Library, Beliaet, beginning with No. 1B2, FHdaj,
10th FebruMy 17S8. Mr Joy oontinned to own the paper till 17aS. He wu
father of Henry and Bobert Joy, and a danghter martying Captuu John
H'Onoken.thipowneraQd merchant, was the mother of Henry Joy H'Craaken
(hanged in 1798], and of Kary and John M'Oraokan , who were so intimately
aiaooiated with Banting.
193 N
ANNALS OF THE IBISH HABPEBS
kingdom to come to Belfast, bringing their iastrnments with
them to show their love of Ireland.
When I left Captain Somerville's I neit went to Philip
Beillj's of MuUough, the eighteen years' constant and
unchangeable friend before named. For fear I shoold be
hurried, I will now make free to describe him and his
character. He was about five feet seven inches in height,
stout and well made, and left no atone unturned to show
himself a real O'Aeilly. " Damn the expense," says Philip
O'fieilly, " give ub a cooper of claret," Mrs O'Eeilly was a
woman of such a good-humoured turn of mind, that though
well aware of bis frailty, yet, without contradiction or any
expression that might be the cause of an argument, while
encouraging the duty of the importation of wine, she
indulged him in his loose conduct and expressions, and
gently reprimanded him the ensuing morning.
At this time I received a letter from Dr James MacDonnell
of this town, and how he discovered where I was I never
could leam ; but the subject of the letter was to invite me to
Belfast on the 9th of July 1792, to assist with other hatpers
on the national instrumeDt,
In consequence of my rheumatism, I felt my own
incapacity, and expressed it to my friend Phil O'Beilly, as I
had not the use of the two principal fingers of my left hand,
by which hand the treble on the Irish harp is generally
performed. Mr O'Beilly would take no excuse, and swore
vehemently that if I did not go freely, he would tie me on a
car, and have me conducted to assist in performing what was
required by the advertisement before mentioned. I abided
by his advice, and on the Fews Mountains, on my way to
Armagh, I met Patrick Lyndon * at a public house. He knew
' It wu miMt unfortunate tliat this rekllj inUresting htipw •nd poet
tKoDld haVB gona on the apree and (ailed to turn up in Bsllaat. Arthur
O'lTeiil ma wim in trfing to mean hii pranaM, and fdmiih him for the
oooasion. He bad met O'Carolan in his time, and was himaelf somethiug of a
194
MEMOIRS OF ARTHUR O'NEILL
me, and called oat, aakiog where I was going. I informed
him, and be told me he would like to accompaoy me if he
was better dressed. At this time I had plenty of old clothes,
and I knew him to be an excellent scholar, who could read
and write Irish very well, and wished to have him with me
to Belfast, imagining he would be a great acquisition to this
celebrated harpers' meeting.
He got my old clothes in order to cut them down, and he
was 80 proud when he got them, that he went rambling
through the neighbourhood of Ballynagleragh, Co. Armagh,
in so volatile a manner, that when I expected him, according
to our terms on parting, he did not appear. Indeed, what
with his breach of promise and my having the rheumatism
atill, I found myself uncommonly awkward when I came to
Belfast to endeavour to show myself worthy of Dr James
MacDonnell's good opinion of me. He, perceiving my bad
state of health, thought it necessary to electrify ^ me every
day previous to the Belfast Ball.
Dr James MacDonnell explained to me the nature and
purport of this ball, which was to show a specimen of
patriotism and national ardour to the rest of the kingdom.
It was held on the 14th July 1792, at which time the follow-
ing harpers attended, with others that I do not now remember.
Charles Fanning William Carr
Hugh Hig(^a Rose Mooney
Patrick Qninn James Duncan
(Welsh) Williams Donald Black
Arthur O'Neill Charles Berreen
Denis Hempson Etc., ete.
poet, nd had been harp-tntor to P. Qaina of Amugh, nho pUjed in Bellut
%nd at the Ouolu Oosuneniontion Oonoert in Dnblin. That Bnating met
Iiindan wt kaow rroin his index, where it it noted that ha got froin him the
following ain:— "Hiu Hamilton," by Lyona, harper to the Karl of Antrim
'n 1702 ; " Saebh Kelty," by Thomai OoDnalloQ, 166D, taken from P. Linden,
barper, Hewtonn Hamilton, Co. Armagh, ISO!.
' &f Bir W. Wbttla'a a<»ount of Dr MicDonneU'i fame is a pioneer in the
medical world, chap. iiiv.
195
ANNALS OF THE lEISH HARPERS
Ob this oocaaion the different premiums were to be kept
a profoQDd secret, so much so that oae harper was by no
means to let the others know what he received, in order
to prevent any jealousy amongst them, and to emulate
them to exert their utmost skill in playing Irish airs.
This meeting continued four days in the Exchange Rooms
in Belfast without the smallest interruption whatsoever,
and each harper exerted himself to the utmost of his
ability playing Irish music. The judges on this occasion
were snfficieiitly competent to leave no degree of jealousy
amongst the harpers respecting the distribution of the
premiums.
When the ball was over, Dr J. MacDonnell invited all
the harpers to dine with him, which they accepted. We
accordingly met and dined with him, and if we had all been
peers of the realm we could not have been better treated,
as the assiduity of the doctor and his family was more than
I can describe. I remained four days wi^ him after thp
other harpers were gone away, and then set out for home.
I went to Bronghshaue, from that to Ouehendall, where
I remained two months for the benefit of the water at John
Rowe MacDonnell's, the doctor's brother. I was treated with
ancommon care and attention during that time, and saw
my friend Randal MacDonnell very often. I found myself
much better by the benefit of the water, and then went to
Ballycastle to Archibald UacDonnell's, another half-brother
of the doctor's, where I remained about three weeks. Thence
I went to New Ferry to Henry O'Neill's, the doctor's uncle,
where I was well received and used. From thence I went
to Castledawson, and stopped a week there with Dr Shields ;
from that to Moneymore, which I might then have justly
called Uoneyless, as I was uncommonly here of money.
From that I went to Hi^h Stewart's of Ballymena ; thence
to Dungannon to my brother Ferdinand's at Olenarb, where
I remained io my usual manner as after my different pere-
196
MEMOIRS OF ARTHUR O'NEILL
grinations. After remaining some time at Glenarb with
my triendB, I left mj brothers, and came to Mr Stewart's
of Acton, County Armagh. On leaving that gentleman's
honse, I met Mr Edward Banting as I was going toward
Newry, where he bronght me, with whom I spent as agree-
able a fortnight as ever I spent in my life. He took
some tnnea from me, and one evening at his lodgings he
played on the piano the tone of " Speak Oyeoogh," and I
sung with him.
There was at that time a gentleman in ffewry in disguise,
who called himself Mr Qardiner, and lodged near Mr Bunting.
His lady was looking out of the window, and heard us. She
spoke to my landlord to induce me to spend the evening
with her and her husband, which I did, and was uncommonly
well used ; and on coming away this Mr (Hrdiner, who was
no other than the Scotch Earl of Galloway in disguisei
slipped me a guinea, and what his notioDS were for dis-
guising himself I never could learn. I left Mr Bunting in
Newry, and went to Dandalk, where a gentleman, a Mr
M'Cann, accosted me on the street, and asked me where I
was going. I told him " to any place, being invited to no
place." He then took me to his own house in that town,
where I remained a fortnight veiy agreeably, and then
went into the Conoty Meath, and stopped at the house of
Mr TaSe, of Smarmur Castle; thence down to Drogheda,
where I stopped one night. Then I went to Dublin, where
I visited a Dumber of gentlemen for a few days, and then
went to Lord Fowerscoart, in the County Wicklow, to whom
I had a letter. There I remained some days, and then
returned to Dublin again, where I met a Miss Ryan, who
played the harp very decently. She lived in Beresford
Street
When I left Dublin I returned to the County Cavan
bat stopped at the following places : — ^Lord Dunsany's, Mr
Bamwall's, Lord Ludlow's of Ardsalligh, near Navan, James
197
ANNALS OF THE IKISH HARPEES
O'Neill's of Meathstowa, John O'Neill of Eells, a respectable
brewer, all in the Coanty Meath ; then to Philip Seilly's
of Mallagh, in the Connty Cavan, the gentleman, with which
the eighteeD snccessive Christmas days were passed already
meutioDed. I then perambulated the Counties of Cavan
and lyrone pret^ much in the same manner as formerly,
Snishing the jonmey without anything particular happening
to me.
In Jane 1803 I took it into my head to visit Dublin
once more, and passed through the Counties of Cavan,
Monaghan, Louth, Meath, and Dublin, stopping at the
gentlemen's houses before named in each county without
meeting any matter or thing worthy of notice. I deter-
mined at this time to see all my friends in Dublin, and
spent about three weeks in the bouse of Mr John Farrell
of Eccles Street, and notwithstanding the hospitality and
good-nature I experienced there, my mind was miserable
in consequence of the city being like one universal barrack,
with the clashing of arms, beating of drums to anns, sound-
ing of bugle horns, and the like, in consequence of an un-
expected insurrection amongst a parcel of country peasants
under the influence of a Mr Robert Emmet, and a few
other leaders of less capacity and education. When the
executions commenced after the disturbance was sup-
pressed, I was much surprised to hear of Mr Emmet's
execution.
Previous to bis sentence he informed Lord Norberry,
" That were Frenchmen to assume any authority inconsistent
with the purest independence, that would be the signal
for their destruction, and that be would fight them with
the sword in one hand and the torch in the other —
he would root up and bum every blade of grass in the
land sooner than let a foreigner tjrrannise."
I was so impatient to leave l^at scene of terror and
alarm, that I left Dublin as soon as the first emotion of
198
MEMOIBS OF ARTHUR O'NEILL
diamay was aubaidiiig. I made off for the ConDty Tyrone
again, and notwithstanding my being blind, and of conrse
incapacitated from being useful either in loyalty oi treason,
I had to get a pass ; and indeed, without considering my
incapacity, the wiseacres on my way home demanded my
pass almost every five minutes. I would sometimes say,
" Here it is," pointing to my harp ; and because there was no
crown on it, I was often in danger of being ill-used by
the illiterate loyalists, who took pride in displaying their
cautious condnct. I must say that when I was examined
by superior officers, they generally assisted me in facilitating
my journey until I got to my brother Ferdinand's.
My headquarters for the last ten years of my life was
principally at a Colonel Southwell's of Castle Hamilton,
in the Coanty Cavan, brother to Lord Southwell of
Aokeby Hall, near Brc^heda. He was Colonel of the
14th Light Dragoons, I never knew a more accomplished
character, t do not know how I gave him cause to fancy
my company so much as he did during that period, but we
were almost inseparable, and our nsoal salutation wonld be,
" How are you, O'Neill ? " I would answer, " Very well.
Colonel." I visited a great number of other gentlemen in '
that neighbourhood and county, but could not be long out of
the Colonel's house.
I am now about sixty-eight years of age, and have
exerted my utmost ability to remember as much of my
peregrinations as I thought worthy of mentioning. I
cannot avoid expressii^ my gratitude to my best friend,
Mr Bunting, to whom I am principally indebted, for ease
and comfort in my declining years, by whose means I came
to Belfast in oonseqoence of an advertisement I heard read
to me. It stated the gradual decline of the Irish harp, and
how meritorious it wonld be to preserve the music of it.
The cap fitted me, and I accordingly wore it, and came to
Belfast and met Mr. Bunting. By hia uncommon exertions,
199
ANKALS OF THE IBISH HABPEBS
he solicited euffident co-opentioD to establith a,n animi^
for me.
Let censure, malice, or surmise rage in what shape they
may — it may be imagined that I am saying too much of
that gentleman ; but I am sorry that I am inadequate, to
record or describe his real merit, which, I am prond to say,
has placed him far beyond any mercenary view of his own
interest. I, on my part, would be far from acting the part of
a sycophant, as, thank God, I am independent of being such
a character. Finally, Mr Bunting's plan is that I shall
reside in Belfast the remainder of my days to instruct such
twelve poor boys aa have a capacity to learn and retain the
national music of the harp.
Arthur O'Keill remained instructor of the Belfast Harp
Society from 1803 until 1819, and was paid an annnity of
£30 for life by his friende. He returned to bis native county,
and died 1816.
CHAPTEK XVIIl
FAMOUS HARPS
Xkin aa was Boating's interest in surviving harpers and
harp melodies, he was necessarily also very thorough in his
inveBtigations as to any notable harps still in existence.
His 1809 volume has as frontispiece a fine reprodnction
of a very accurate drawing of one of the most beaatifal
of instruments, known as the Dalway Harp, because it was
long in the possession of a gentleman of that name in
Carrickfergus. It was in a shattered condition, but is re-
stored in appearance in this drawing, and a fairly accnrate
account of the inscriptions on it were given in an intro-
ductory essay hy Mr Joy. They are in Latin and Irish. In
Latin is carved on it : " Ego sum Regina Oithararum," the
name of the maker "Donatua Filius Thadei," the date
1621, and the fact that it was made for one of the
Desmond Fitzgeralds, John Mac Edmond Fitzgerald of
Cloyne, whose arms are on the fore pillar surmounted
by the arms of England. O'Corry translated the Irish in-
scriptions which give an interesting memorial of domestic
life in a noble family in Ireland aa follows : —
" These are they who were servitors to John Edmond at
Cluain when I was made. The Steward was James Fitz
John, and Maurice Walsh was our superintendent, Dermod
Fitz John, wine butler, and John Baudham, beer butler, Philip
Fitz Donnel was cook there. Anno Domini 1621. Teige
201
ANNALS OF THE IRISH HARPEKS
O'Ruairc was Chamberlain there, and James Bnssell was
House Marshal ; these were all discreet attendants upon him.
Philip Fitz Teige Magrath was tailor there. Bonncadh Fitz
Teige was his Carpenter. It was he that made me. Giolla-
patrick Mac Cnidao was my musidao and hannoniat, and
if I conld have found a better, him should I have : Dermot
Mac Credan along with him, two highly accomplished
men whom I had to ouise me, and may God have mercy on
them all."
In Bunting's 1640 volume, an even more famous and i&r
more ancient harp was described and depicted by the noted
artist and antiquary, George Petrie.
Mr Joy, writing in 1809, had cast doubt on the tradition
that it belonged to the famous King Brian Borou.
" This, the most ancient Harp now remaining, is said to
have belonged to Brian Borou. His son Bonogh, having
murdered his brother, retired to Rome, bringing his Crown,
Harp, and other r^^lia. The Pope is said to have sent the
Harp to Henry YIII. (many centuries after) but kept the
Crown, Henry VIII. gave the Harp to the first I^rl of
Clanrickarde, in whose family it remained till early in the
eighteenth century, it came by a lady of Se Burgh family
into that of M'Mahon of Cleenagh in the county of Clare,
after whose death it passed into the possession of Com-
missioner M'Namara at Limerick. In 1782 it was preseuted
to the Rt. Hon. William Conyngham, who deposited it in
Trinity College, Dublin.
"This Harp had only one row of strings, is thirty-two
inches high, and of extraordinary good workmanship. The
sound board is of oak, the pillar and comb of red sallow, the
extremity of the uppermost bar or comb in part is capped
with silver, extremely well wrought and chiselled. It con-
tains a large chiystal, set in silver, and uuder it was another
stone, now lost The buttons, or omameotal knobs at the
sides of the bar are of silver. On the front of the pillar
are the arms chased in silver of the O'Brien family, the
bloody band supported by lions ; on the side of the pillar,
within two cinues are Irish Wolf dogs carved in the wood,
202
FAMOUS HARPS
The atriug notes of the eoimd board are neatly ornamented
with escatcheons of brass, carved and gilt.
" The sounding holes have been orDamented, probably
of ailver, as they have been the objects of theft. This harp
has twenty-eight string screws and the same miinber of
atring boles to answer them, consequently there are twenty-
eight strings. The bottom which it rests upon is a little
broken, and the wood very rotten ; the whole bears evidence
of an expert artist."
In a footnote tfae writer calls in question the largely
traditional account of the harp, which bad been communi-
cated by a Chevalier O'Gorman to General Vallancey, who
wrote and published it in 1788, and he concludes that the
evidence of its connection with Brian Boron was too weak,
and that the condition of the instrument did not warrant the
assumption of such a greet age.
In tfae 1840 volume of Bunting, the investigation as to
this harp was pursued by the celebrated artist antiquary,
George Petrie, who supplied three beautifully and minutely
executed sketches of the harp, showing it from every point
of view. He examined and rejected the tradition, partly on
account of the eecutcbeon attached to the harp, as coats of
arms did not come into use till the reign of Henry III.
The emblem of the hand, he took to be the designation
of the O'Neill clan, and drew attention to the letters I.H.S.,
carved la Gothic or black letter character, which had not
been observed in Joy's 1809 article.
He concladed that the harp from its small size, was
likely one of the class used by Irish ecclesiastics to chant
hymna to, and pointed out that an O'Keill was Bishop of
Glc^her in the fourteenth century, and that another reigned
over the See of Derry abont the same period. The harp
might have belonged to either of these Churchmen.
This authoritative statement by Petrie did not conclude
the controversy with regard to the so-called Brian Boron
ANKALS OF THE IRISH HAKPEES
hup. Id fact it was yet to enter on its moat interesting
stage, when the great Oaelic Bcholu, Eagene O'Curry, came
to deal with the subject of music and musical instruments,
in the coarse of a series of lectures on the customs of
ancient Ireland, given at the Catholic University, Dublin.
Matthew Arnold in his essays on Celtic literature, boa
paid B h^h tribute to O'Cnrry's process of reasoning on
antiquarian subjects. Kever was it exercised in a more
extraordinarily interesting manner than when he turned
to the pages of old Irish manuscript literature, to seek
for evidence with regard to this harp. He did not reject
the tradition with regard to its ownership by a Donogh
O'Brien, but sought for facta, which, however distorted,
might have given rise to such a tradition. A wonderful
sequence of literary and romantic events was discovered,
and I cannot do better than give, in a condensed form,
his reasoning and conclusions.
O'Curry seized at once on the traditions which Petrie had
rejected, for lack of evidence ; firstly that the harp had
been given by Heury VIII. to a Lord Clanrickarde ; secondly
that it had belonged in former days to a Bont^h O'Brien,
said to he the eon of Brian Borou.
With regard to it coming to Ireland as a gift to
Clanrickarde, he says this was most unlikely to be a
fabrication, for any one inventing a story on the subject
would have made Heflry VIII. give it to Murrogh O'Brien,
who deserted to the English and was created Earl of
Thomond on the 1st of July, 1645, on the same day that
the Norman Irish Chief, Mac William Burke, exchanged his
Chieftain title for that of Earl of Clanrickarde.
The harp hod indisputably belonged to the Clanrickardes
and had most likely as stated come to them as a gift from
Ei^land.
Chevalier O'Qorman had tnmed to "The Annals of
History " to seek for a Donogh O'Brien, who might have owned
204
FAMOUS HARPS
it, and found that King BiiaD'a eon, who went to Some
was aaid to have laid his crown at the feet of the Pope,
in contrition for a fratricide. If the crown, why not the
harp ai^ued the Chevalier, and without further evidence,
he romanced.
O'Curry turned to the mannecript remains of Irish
poetry, and with which he had such an extraordinary
acquaintance, and recollected a later Donogh O'Brien, a
descendant of Kiug Brian, living in the twelfth and thirteenth
centuries who owned an extraordinarily beautiful gem-set
harp, which was the subject of poetry. This harp had been
lost to its princely owner, and last heard of in Scotland,
whence he had in vain tried to recover it by ruisom.
O'Curry's mind fastened on the fact that the regalia of
Scotland and the crowning stone of Scone had been taken
away to Westminster. With them, perhaps, went this
splendid harp, which was among the royal treasures of
Scotland.
The surmise was a likely one, as Douc^h Carbery's lost
harp was lost sight of in Scotland, though Irish bards and
minstrels going there would surely have kept track of it
As to Petrie's objection to the escutcheon, O'Curry thought
this was apparently of much later date than the main body
of the harp, as were also the letters I.E.S.
Let us now turn to the documents on which he founded
his line of a^ment He writes :
"There is in the possession of the O'Conor Don, a
Manuscript Volume of family and historical poems in the
Irish language at various dales, say from the tenth to the
seventeenth century. The volume had been compiled at
Ostend in Belgium for a Captain Alexander MacDonnell "
(yosiiily AUutair, son 0/ CoUeUto, ancettor of Bunting's friend,
th€ Doctor).
From tbia volume, the diligent O'Curry copied one
206 ■■-:
ANNALS OF THE IRISH HARPERS
thousand quarto pi^es, inclodiDg one hundred and fifty-
eight rare family poems of which he had never seen copies
in Ireland.
Much tragic history would have bo be repeated to explain
how these manuscripts were thus in exile, but we must proceed.
Amot^t them, O'Curry recollected two concerning
Donogh Carbery O'Brien (descendant of the great Brian
Borou), who attained to the Chieftainship of his clan in the
year 1204, and died in 1242.
The poems in question are by a northern poet, Gilla
Br^hde Mac Goomee. The first poem is in the form of a
vision in which, carried to Limerick on the deck of a ship,
the poet sees a young man seated on a chieftain's chair or
throne. He describes his manly beauty and splendoni of
attire, and praises hia skill as a harpist
" Stringa sweet as his conversation
On a willow harp fingers have played.
Not have the youth's white fingers touched
An instrument sweeter than bis ovm mouth."
The second poem reveals the fact that Don<^h had in
some way lost a treasured harp, and that the bard, Gilbride
Mac Conmee, had been sent on a mission into Scotland to
recover it by pleading or purchase.
The poem was doubtless composed by the bard for the
occasion, and recited by him ; the latter verses, however, read
to me (O'Curry has not pointed to this) as if a Scotch poet, in
response, was argning against the release of the harp. This
would bring the poem into the class of dramatic dialogues.
However, Mac Conmee begins asking for the harp that he
may play upon it, thus showing that he was a minstrel as
well as a poeL
" Bring unto me the harp of m; King
Until upon it I forget my grief,
A man's grief is soon banished
By the notes of that sweet-sounding tree.
206
FAMOUS HARPS
" He to whom the Music tree belonged
Wm a noble yonth of sweeteat performEiice
Many an inspired song has he sweetlj sung
To that elegant sweet voiced instnunent.
" Whenever his hand touched
That home of music is perfection
Its prolonged, soft, deep sigh
Took awaj> from all of na our grief.
-' When into the hall would come
The race of Cas of the yellow hair
A harp with pathetic stringa within .
Welcomed the comely men of CasheL {
I
"The maiden became known to all men |
Thioughout the soft-bordered lands of Banba, i
' It ia Uie Harp of Donogh,' cried everyone,
' The slender, thin, fragrant tree.'
"O'Brien's harp ! Sweet its melody
At the head d the banquet of fair Oabhran
Oh how the pillar of bright Oabhran called forth
The melting tones of the thrilling chords.
" No son of a bright Qael ahall get
The Harp of O'Brien of the flowing hair,
No son of a foreigner shall obtain
The gracefnl, gem-set fairy instrument."
(Here I surmise the poet of Scotlftad may b^n.)
"Woe to have thought of sending to beg thee
Thou harp of the Chieftain of fair Limerick,
Woe to have thought of sending to purchase thee
For a rich flock of Erin's sheep.
" Sweet to me ia thy melodious soft voice,
maid who wast once the arch-King's,
Thy sprightly voice to me is sw«et
That maiden, from the island of Erin.
207
ANNALS OF THE IRISH HARPERS
" If to me were pemutted in thii eutem land,
The life of the eTergieen yew tree
The noble chief of Brendoa'a hill («.«. O'Brieo).
His hand harp I would keep in repair,
" Beloved to me — it is natural for me
• Are the beautiful woods of Scotland
Though Btiange, I love dearer still
This tree, from the woods of Erin."
O'Gurry proceeds to state that this poem gives no clae
to the circumstances nnder which this harp went to Scotland,
that the harp remained there and may have bees brought to
Westminster along with the stone of Scone with the tradition
B8 to Donogh O'Brien clinging to it
Tradition in this case would have unusual weight for
Donogh, as a musician and patron of the bards, would be
endeared to the whole bardic order, dispensers of popular
fame. By following the career of Donogh as patron and
protector of poets O'Curry cornea on the track of a series of
remarkable incidents which may account for the exile of his
treasured harp.
" The Annals of the Four Masters," compiled in the seven-
teenth century from ancient books then existing, record for
the date 1213, a homicide, which reminds us of the doings of
Benevuto Cellini. But in this case the artistic temperament
was not judged an excuse for the delinquent.
" Finn O'Brolachain, Steward to the O'Donnell, went into
Connacht to collect O'Donnell's rent The first place he
went was to Carpre of DrumclifTe. He then went with his
attendants to the house of the poet Muireadach O'Daly of
Liasadilli, where he fell to oEfering great abuse of the poet.
, . . The poet was incensed by him and he took up a keen-
e^ed hatchet in his hand, and gave him a blow that left
him dead for life."
O'Daly fled to the Clanrickardes in Oonnanght pursued by
O'Donnell, and then into Thomond, where Donogh Carhery
208
FAMOUS HARPS
O'Briea sheltered him till CDonnell and hia anDj appeared
at the gatee of Limerick. Donogh sent the bard by ehip to
Dablin, and O'Doonell returned to the north, but without
rest set out for Dublin and demanded his person. O'Daly
waa sent over eea to Scotland, where he remained, according
to the aQiialista, for some time, sending three conciliatory
poems to O'Donnell, till at length peace was mode. In one
of these poems addressed to O'Donnell's young son, and
preserved in the Bodleian Library, he describes his wanderings
on the Continent and up to the Mediterranean Sea.
During the period of his exile he also addressed a pathetic
poem to the cousin and heir of Donogh, in which he says :
"Gneas wbat my profession is,
Oness what mj name is,
OueBB what countiy I come from."
He then says he has been going about the world, that
Muireadach of Scotland is hia name, that he knows the
O'Briens would protect him, and in the last verse he appeals
directly to Donogh Carbery,
" Dimogh Carbeiy of the smooth skin
Oat of Scotland of the feasts and of the fields,
Of Steeds, of spears, of Islands,
Mj run to Erin on my return
How soon shall 1 make I and guess.'
This poem was likely sent as a message by O'Daly when
he had been forgiven by O'Donnell and could retorn to
Ireland, only that the Scotch King or ChitiftaiD now
detained him (or love of bis orU
O'Donnell, who had granted a surly foi^veness, conld
not be expected to pay a ransom, hence the appeal to
DoDc^h Carbery, lover and friend of the bards.
What ransom did O'Brien send? There is no record,
nor talk of a ransom either in this poem. But O'Cnrry
found another clue. In a compilation known as the Book
of Fennoy, made up in the year 1463, there is a poem by
209 o
ANITALS OF THE IRISH HARPERS
a CoDTtanght poet, Brian O'Higgiiui, who wishod to ingntitte
himself with David Roche of Fensoy. Fraisiiig the
hospitality he had received at his house, he broadly hints
that he would have no objection to desert Connaught and
live in Mnnster permanently, and he quotes the case of
Muireadach O'Daly, who, after his return from exile, lived
with Dont^h Carbery in Mnnster.
"Hie jewel of Donogh Catbeiy having been aent
To release tbe Cbief Poet of Scotland.
This it was that brought him over the sea."
O'Catry points out that the jewel hero alluded to was
almost without doubt Donogh Carbery's harp. O'Daly had
become chief poet in Scotland, and could not depart without
a kingly ransom.
So the harp, be assumes, was sent, and afterwards when
O'Daly was safe in Ireland, Gilbride Mac Conmee went on
his mission to beg for its release, perhaps indeed, I would
add to O'Ourry's argument, to offer himself as part of the
ransom, for this Gitbride became known also as an Alhanach,
or the Scotchman.
Such is the scope of this most interesting enquiry,
prompted by the Petrie article in Bunting's volume.
Whatever may be the final judgment on the O'Brien
harp, O'Curry in the course of his disquisition threw a
flood of l^ht upon the life of the bards of ancient Ireland,
and opened up the hidden chronicles of early Gaelic
literature with extraordinary effect
The personality of the last of the harpers who mustered
in Belfast, will have added interest from what has here been
told of their predeceaaora, Donogh Carbery, the princely
musician, Mac Conmee, the Ambassador Bard, O'Daly, the
exila Later on you will read how Hempson the oldest
of Bunting's harpers, went also wandering through Scotland,
and how Arthur O'Neill re-strung and played on the O'Brien
210
FAMOUS HARPS
harp through the streets of limerick, where long ago
Danogh had harped on his royal chair.
We conclude by quoting the following letter to Mat}'
M'CraolEen, in which you will diacover Bunting with this
remarkable instrument io his hands.
"Ddblik,
" PTtdtttdag, Sept. lith 1806.
"I had commenced a letter to you yesterday, bnt was
called away by Mr O'Flanaghan, Professor of Irish to the
College, whom 1 intend employing to translate the songs.
He is preparing for the press translations of several old
Irish MS3., under the direction of the Gaelic Society. I
searched the College Library for ' Qalileo Qalelie ' but it
is not there ; and will you tell Mr Joy there are no draw-
ings of harps in Norden. Dr Bumey was right certainly, in
refusing me any information respecting musical rhythm, as
he is engaged already in writing on that subject for another.
As to Mr Ledwich, he has published all he knew on the
subject. My business lately has been looking after Irish
and Welsh scholars. I have been examining Brian
Borhoim'a harp, and find Yallancey's description to have
been inaccurate. I purpose measuring it to-morrow, I have
got some addition to my stock of airs,"
CHAPTER XIX
BUHTHTG AND TEE COmtTRr SINQEBS
Is addition to preserviog the records of tfae music of the
harpers, Edward Bunting and his Belfast associates
recognised the importance of collecting the melodies and
song words from Uie lips of the country singers, who had
received the traditional method of rendering them from
preceding generations.
The harpers, as we have seen from O'Neill's " Memoir,"
frequented the homes of the landed proprietors, bat Irish
song echoed by the firesides of lowly cottages, in the milking
shed, in tfae harvest field, and in sach places throt^h the four
provinces of Ireland, Edward Bunting became acquainted
with the sorrows and joys of the people. His note-books
and letters make us acquainted with the frequency and
distance of his wanderings, and as the years passed the airs
noted as taken from harpers became fewer, those taken from
rural singers are in the majority. In his 1840 index, the
earliest date given us when a song was noted, or likely in
this case, we should say, heard, is 1780, the air " White
Maive," singer " Kitty Doo at Armagh." This was likely a
nurse, or some country woman in his childhood's home, for
in 1780 he was no more than seven or eight years of age.
It is sometimes stated, that Banting put a higher value
on the music of the harpers than on traditional song. This
is not true with regard to the ordinary harpers, intense
interest was only shown in the performance of those who,
like Hempson, were regarded by him as the lost repositories
212
BtTNTING AND THE COUNTRY SINGERS
of ancient u-L In the following posssge which I quote from
his 1840 volnme, it will be seen what a degree of reliance be
placed on the traditional singer.
" Poems and histories, when orally delivered will from
time to time be corrupted and interpolated. Thus of all the
poems attributed to Ossian, it is now impossible to say
whether any, or any part even, be undoubtedly genuine.
So also, but in a higher degree with regard to songs. The
words of the popular songs of every country vary according
to the several provinces and districts in which they are sung :
as, for example, to the popular air of ' Aileen-a-Boon ' we here
find as many sets of words as there are counties in one of our
provinces. But the case is totally different with music. A
strain of music, once impressed on the popular ear, never
varies. It may be made the vehicle of many different sets of
words, but they are adapted to it, not it to them, and it will
no more alter its character on their account than a ship will
change the number of its masts on account of an alteration in
the nature of its lading. For taste in music is so universal,
especially among country people, and in a pastoral age, and
airs are so easily, indeed in many instances, so intuitively
acquired, that when a melody has once been divulged in any
district a criterion is immediately established in almost every
ear. And this criterion being the more infallible in propor-
tion as it requires less eETort in judging, we have thus in all
directions, and at all times, a tribunal of the utmost accuracy
aud of unequalled impartiality (for it is unconscious of the
exercise of its own authority), governing the musical traditions
of the people, and preserving the native airs and melodies
of every country in their integrity from the earliest periods.
" It is thus thnt changes in the actual frame and structure
of our melodies have never been attempted, unless on the
introduction of the altered tunes for the first time amongst
those who uever heard them in their original stat« ; as in
the instance of Sir John Stevenson's supposed emendations
of the Irish Melodies on their first introduction to that
extended auditory procured for them by the excellence of
Mr Moore's accompanying poetry ; and thus it is that so
213
ANNALS OF THE IRISH HARPERS
long aa the maaicol collector or antiquary confines liis eeareh
to the native districts of the tunes he seeks for, he always
may be certain of the absolute and unimpeachable authenticity
of every note he procures.
*' Were it not for this provision for the transmission of
tanes in a perfect state from the earliest times, there would
be no such thing (at least in our age of the world) as musical
antiquity or the iDeaoa of jodgiug from musical remains of
the genius and sentiment, and throi^h them of the mental
refinement and social progress of our remote ancestors for
musical notation is of comparatively recent origin, and
without it we have nothing but this tradition to depend on."
This testimony, to the worth of tradition in relation to
music, may be questioned when we recollect the change that
can easily be wrought in an air by a change of accent end
time. We find from time to time, moreover, among country
silvers that several airs may be variants of one original.
In coming to this decided conclusion Bunting, however, was
guided by the fact that he had collected Irish melodies from
boyhood through a long lifetime, and in the four provinces
of Ireland from singera who had no common model, such as a
printed version to study from. They had received from their
ancestors, had carefully preserved the form and handed it on
to posterity. The peasant poet moulded hia words to the
music of antiquity, which he delighted in and reverenced,
and from which he received his inspiration.
It was left for Thomas Moore and other poets who got
their music out of books, to experiment in making the melody
accord with the metres of their versee.
As a test of Bunting's estimate as to the value of tradi-
tion, it is open to na to go into Counaught or the hill country
of Derry and Tyrone and seek for the songs which he set
down a hundred years aga We will hear them from the
lips of the descendants and successors of the men and women
who sang to him, and in all cases I think our conclusion will
be that his judgment was correct I myself made a journey
214
BUNTING AND THE COUNTRY SINGERS
of investigation quite recently (May 1910X In a conntry
parochial house' in County Tyrone, I bad the pleasure of
meeting a native Connaaght teacher, and put in his hands a
volume of the songs words taken down in Connaught in 1802.
His exclamations of pleasure and familiarity were pleasant
to hear. " My mother had that very soi^." " I know a man
that has that one." " They sing that etil] about Gastlebar,
and I can tell you a story about the man that wrote iL"
The value of the manuscript collection of Gaelic aongs
is enhanced by the fact that it afTords a key as to the airs to
which Bongs were sung. Several important collections of
Gaelic poems have appeared, without any guide being given
as to the melody belonging bo each. I need only point to
Hardiman's " Minstrelsy " published in 1831, and Dr Couglaa
Hyde's "Love Songs of Connaught," which appeared in 1893.
These are veritable collections of words without songs ; and
via verad we have songs without words in the great Petria
collection and in Bunting's own published volumes, inasmuch
as only the first lines or names in Irish of each song is given.
To the present day musical collectors are at work, who never
trouble about the Irish words ; and industrious Gaelic scholars
go about taking down lyrics without any attempt to preserve
the melodies. Bunting and his friends were wise in their
generation, and as proof of the trouble and expense which
they went to, we have amongst the manuscripts, and now
published for the first time, the journal and letters o£
Patrick Lynch, who was sent to tour Connaught in 1802,
to find out songs for Bunting, and take down the Irish
words of them, while the musician following later on in
bis track secured the melodies.
Before coming to this detailed account of a Bong-collecting
jonmey, it will be well to insert a brief account of the
' Ths ntidsuM of tha BeY. Hfttthaw Hkgain, P.P. Ht U one of the
IcMling Oielia languige uid Irish indiuttiBl piouMn. Tbe ConiiftDght
taacher Tsfcrred to. Hi Wkldron, is mftking ■ collaoliaii of songs of 'I^Miit.
216
ANNAI^ OF THE IRISH HAEPEES
remarkable man who was Bunting's guide and entertainer
on the occasion of his earliest visit to Connaught. Shortly
after the Harper's Festival when preparing for the publication
of his first volume, you have seen that he spent mnoh of his
time with old Hempson at Magilligan.
But in 1792, the very year of the Festival be went to
Connaught, under the guidance of Eichard Kirwan. I can
scarcely doubt, but that Whitley Stokea who was acquainted
with this eccentric genius, was the medium of introducUon.
In the 1840 index we find an air, "The Bejected Lover,"
Bet down as being taken down from Mr W. Stokes, Dublin, in
1792. Bunting was then likely en. route to Connaught. (This
air, by the way, is one which has been admirably set by Sir
C. V. Stanford with words by Mr A. P. Graven, beginning
" In Innisfallen's Fairy Isle." )
A number of songs are given as being taken down in
CoDoaught at this date, including " Health from Xbe Cup "
from Uichard Kirwan, Esq., 17^2. "Clara Burke" from Mrs
Burke, Carrakeel, County Mayo, in 1792 ; " I am a Fisherman
of Lough Carra," also from Mts Burke, and the following were
taken down at Deel Caetle, Ballina — singer not named :
" Mary with the Fair Locks," " In this Valley there lives a
Fair Maid," "The White Blanket," "Young Brigid," "The
Pretty Brown Maid." At Ballinrobe he noted "la it the
Priest you want ? " " The Blackbird and the Thrush," " The
Blackbird and the Hen," "Preparing to Sail Away," "The
White Calves."
Eicbard Kirwan of Cr^gs,' who pioneered Bunting on
this tour, was the younger son of Martin Kirwan, a Catholic
gentleman of one of the old Galway tribes, and was given
a liberal education partly in France. On the death of his
mother in 1751, he fell into a melancholy and religions
' Biohard KiTAkii, F.B.9., wu born in OlougMMllyuion', Ooau^
a*l«»j, IB 17Sil, died ia 1S13. Famous cbemitt kud miiierdogiet. In
17BB (on the deith of Lord ObarlemoDt) he wu elected Preeidsnt of the
Boytt Iriih Aoedemy.
216
BUNTING AND THE COUNTRY SINGEBS
frame of miod and veot to St Omer, the tamoas Jesnit
NovitJate. His elder brother being killed in a duel, he
BQCCeeded to the family estate, and, giving np his idea of
a religious profession, mairied a Miss Blake of Menlo. He
had the unpleasant experience of being arrested and
imprisoned for her debts the day after his marriage. Later
OD Id life he became a Protestant, and qualified for the
Bar ; but amid a variety of tastee and occupations his ruling
passion was for scientific research. Living for a while in
London, he pursued this study of chemistry, and was in
oommouication with all the learned societies of the
Continent. The Empress Catherine of Russia sent him
her portrait in rec<^nition of bis merits. Returning to
Dublin he helped to found the Royal Irish Academy, and
was president of that Institution from 1800 to 1610.
He was a man of many eccentric habits. Even at
Courts of Justice and at Vice-regal levees be wore a large
slouched hat, and summer or winter received his friends at
a roaring fire. He had a special abhorrence of fiies, and
according to the latest theories about the part they take
in spreading disease, was not far wrong in this. He always
dined alone and took no other diet than ham and milk.
His death occurred in 1812 as the result of starving a cold.
In an old book the " Worthies of Ireland " published in
1810, we find the following reference to his musical tastes : —
" His leisure hours were amused by the national music
of his country. On one occasion be made a tour with
Mr Bunting into the moat unfrequented parts of Ireland
for the purpose of collecting old Irish airs, particularly
those of Caladon and Carador (? Carolan and Coanelan).
He procured very few of them in Donegal ; but was more
successful in Galway, where a lady who had invited the
travellers to her house, on discovering the motive of their
journey, sent a message thirty miles across country in search
of a harper, whose extensive acquaintance with national
music amply compensated them for macb of the troable
217
ANNALS OF THE IKISH HARPEES
they had andergone. The latter years of his life were
devoted almost exclusively to theolc^y, and his opinions
in many subjects were as varied and fanciful as can be
ime^iueid. His conversation, however, was still much
diversified and highly amusing from the variety and
extent of his knowledge. Miss Owenson (later known
to fame as lAdy Morgan) visited him very frequently, and
even in the midst of his theological pursuits he was always
ready to canvass the merits of a romance or to discuss
the chemical composition of a new cosmetic, which latter
is said to have very frequently formed the subject of their
conversation,"
We must picture to ourselves the youthful Bunting
among the wilds of the West in company with this extra-
ordinary but talented man, who, doubtless, did hie part
like Dr MacDonnell in giving the musician a taste for
antiquarian research in connection with his art.
The following extracts from letters written fay Bunting
to Miss Mary M'Cracken, when at a later date he went
forth on a similar mission, give us a vivid glimpse of his
manner of travelling, of his method of work, and of the
company he frequented. The allusion to the "collar" shows
na that he did not ride, but drove some sort of vehicle.
The "old mare" was likely owned by the M'Cracken
family, and accustomed to go on r^ular journeys in
connection with their business.
"Bkltabt, XMh Axtg., 180S.
"The old mare performed her part, to my great satis-
faction never refused except at Lurgan, where ia passing
the old inn which is not kept at present she wanted of all
things to turn into the gateway; however, she behaved
herself as well, if not better, than almost any beast. I
intend setting off for Sligo to-morrow, and would have
gone to-day, but the mare's neck was a little mbbed, and
I wished to make some alteration in the collar, etc., that
she may not suffer pain. I found the old lady in Dungannon.
218
BUNTING AND THE COUNTRY SINGEBS
She appears to be a very fine specimeD of the ancient gentle-
womaQ. She baa the poem descriptive of a battle, and the
Bong. The battle ia Anghrim, and the tune ia Bomethine
like what I have heard the women sing after the dead
bodies in the County of Armagh ; the poem, I think, ia the
compoaition of some of up - country bards, as they were
called, that is the Kerry gentry, ot whom wa have some
specimens. I rather think this poem and tune wiU not
be worth the trouble of sending a person to write it down,
but when I come home we must have a consultation on
the subject. The old lady was much gratified at the idea
of being of so much consequence, and her daughters were
indeed very civil; they asked me to drink tea with them,
which I thought was kind of them as I had no introduction.
" I had a letter from Mr Joy to Mr M'Dowel, of Augher ;
but I passed through that place so early that I could not
deliver it myself; but another letter of bia to Mr Irwin,
of Enniskillen, I gave in person, and he expressed many
kind wishes for my success. It will depend on what I
hear from Thady Conlan, whether I shall go to Limerick,
as I think it likely he will be found fully competent to
do all we shall require from an Irish scholar. I have made
every inquiry relative to Irish manuscripts, and saw one
in the possession of an old woman, who, when asked whether
she would dispose of it, answered, ' I'll never part with it
till I die,' and with some diCBcuIty was persuaded to allow
it to be copied, provided the person appointed to do so
' were well recommended.' "
Of the " Up - Country Gentry " or Munster school of
poets mentioned in this letter, memoirs and relics have
been preserved in Hardiman's " Minstrelsy," and in a publica-
tion called " Poets and Poetry of Muneter," published in the
forties. Clarence Mangan did many tranelationa for the
latter work, and in the introduction of one of the editione
the following passage is quoted : —
"A qoeer set of fellows were those bards! One hour
rollicking in the Shebeen-honse, and the next seated in some
219
ANNALS OF THE IRISH HARPERS
tradition-hanated rath, bewailiog the woes of Inisfail and
the peraecntion of the old religion. . . . Moore's songs were
m&de for the ballroom and for gentle maidens, who sit down
to a piano, manufactured by some London house. They are
beyond a doubt matchless in their caste, but before Moore
sang, oar grandmothers at the spinning wheel and our great-
grandfathers whether delving in the fields or shouldering
a musket in the brigades, sang these time consecrated verses
to keep alive the memory of Ireland, her lost glories and
cherished aspirations. Before Moore was, these bards were,
and it is but fair to give their memory that honour which
some would exclusively bestow on the author of the Irish
Melodies."
The names of Donogh Mao Con Mara, Shawn O'Tuomy,
Andrew Mt^rath, '^n O'KahiUy, Teig Gaedlach O'Snllivan,
John Clarach MacDonnell, Owen Ruadh O'Sullivan, and
William HefTernan, may be set down here as eminent in
the eighteenth century as " Up Country " or Munater poets.
There were many others. The name of Piers Ferriter
deserves to stand out starlike in the turbulent era of the
Cromwellian wars. The poems of the Munster men have
been collected and edited by the Rev. Patrick Dineen of
Dublin in our own day. Feadar O'Duimin was a Southern
eighteenth centuty poet, who became a schoolmaster in
Ulster, and lived not far from Edward Bunting's native
district of Armagh. We find amongst the Bunting MSS.
some poems in an exceedingly ornate hand, signed by one
Thomas O'Duimin.
The soQthem poets were accustomed to hold bardic
sessions or competitions, at certain centres, among which we
may mention Croome, County Limerick; and Charleville,
County Cork. From these assemblies noted poems wedded
to melody were dispersed through the length and breadth
of the song-loving land.
Here are other extracts from his correspondence with
Miss M'Cracken at that period.
220
BUNTING AND THE COUNTRY SINGERS
" Suoo, September IK, "Oe.
" I am to dJDe to-day with Mr Everard, Juu., who has
kindly promised to call on the celebrated Dr O'Conor, who
is DOW preparing for publicatioD the 'Annals of the Four
Masters' and the ' Book of Ballymote,' two old Irish MSS.
He ahoald be written to. Perhaps it might be found that
he had met with something relative to my work. He had
been collecting for aome time poems, and Irish MSS. for
the Marquis of Buckingham. It is probable he could assist
me. Please let Mr Joy know this, to whom I would write
but that I hope you will let him read this, which will
answer the same purpose. I find that your friend (to whom
I am indebted for many favours), Mr Alfred Blest, has put
all the ' irons in the fire ' for me. When I inquire whether
in this part of the country, any one has any knowledge of
a collection of Irish tunes, the answer is, ' Oh, Mr Blest is
making a collection — he's the man.' I feel much indebted
to him for his kindness. Mr Everard, the elder, is an
excellent judge of the Irish language, and he has aaked
Mr Thady Conlan to dine with bim on Sunday next, when
he will question him, and will, from his knowledge of the
Irish language, be enabled to inform me whether he will
answer my purpose. I fear, from what Mr E says,
that I shall be obliged to go to Limerick to see Mr EUigotL'
I shall see Mr Blest to-morrow, and shall tell you of any
information I may obtain from bim."
" Dublin, Sepl. 10, I80S.
" I am glad to find that Sir J. Sinclair has sent the
tones. I am to dine with Stokes * on Monday, and he will
introduce me to all whom I wish to be acquainted with here.
I leave this for Limerick on Tuesday. I find that Dr Beaufort
is now on the tour for the purpose of collecting information
respecting the parishes in the South of Ireland best adapted
' Tbii it probably one Mao Elligott, ■ wholar wbDm Ljnoh uid
Banting mat in Limerick, in 1802. A letter from liim couched in tccj
■tilted £DKli*lt ii unoDg our manDieripti.
■ Whitls7 Stokn, irlio wu preoent with Wolfa Tone at ths mestliig of
harpeiB in Belfast i;92.
221
ANNALS OF THE IRISH HARPERS
for the plaoiDg of Irish masters in. I shall meet with him
if poBsible, and I have do doubt but that he will give me
all the assistance in his power. I got Bome curious airs
from the people in the neighbourhood of Sligo daring my
visit to Mr Blest ; but I met with very few tunes indeed,
that I had not before. Those 70a mention as taken down
by Mr Broadwood,* I have already, but am nevertheless
much obliged to him."
" DnBLiN, S^ 16, laOB.
" I shall not forget Harry Joy's message to Mr Ledwich,
hut do not like putting that gentleman to any trouble,
particularly as there is a copy of Cambrensis in the Collegd,
to which we can refer. Will you tell Mr Joy that I am
sitting with O'Flanagan who is making out, much to my
tatisfadion, the twenty-four measures of music, which are
pure Irish. O'Flanagan is also to make out ^e roots of
the dlETerent technical terms, etc. I have got another march,
called ' The Cavalcade of the CNeils ' (a curious air), with
the words; so you may perceive I am not idle."
" Druoheda, Stpt. 18, 1606.
" I have written to Counsellor Fentoo, in Pembrokeshire
for a translation of the twenty-four measures of masic, which
I mentioned in a former letter, not being quite satisfied with
Mr O'Flanagan's assertion that they were pure Irish. If
they are Irish, or should prove to be Comwh, which is a
dialect of the Celtic, it will be a great matter for me. I
came down here to see my brother, but purpose going back
to-morrow, to meet O'Flan^an, Cody, a piper, and a woman
from the County Mayo, whom I accidently heard singing in
the streets."
" DOBtra, Sept. 21, 1808.
"I am employed in watching O'Flanagan, while he
translates some of the songs. I have got three tunes, one
of which Cody, the piper, calls 'O'More, King of Leix's,
■ Hiu Lnoy Broadwood statM it wsa her great-nncla, Uobert, who wu
Bnoting'a friend, aod »1iD Anthonj Bunting wu rapreMototiTe in Dnblin
for the Bi««dwaod piinofortn.
BUNTINQ AND THE COUNTRY SINGEES
iSamh,' and two othen, vis. : 'The Cavalcade of the CNeils,'
and 'The March of Owen Boe CNeiL' I am anxioos to
have eveiything done in the best manner. I have gone too
tar to recede, otherwise I should, from the difficulty of the
andertaking, give it up altt^ther. I think Miss Balfour's
'Fairy Queen' very good. The 'Fairy Queen' of Carolan,
however, was not intended by him for words, but as a piece
of music for the harp ; therefore, it would not answer to
have it now set with words. These some days past I have
been running after an old woman named Betty Walsh,
whom I have seen once before, and heard her play. It is
possible I may pick up some airs from her. I have been
making every exertion to find out her residence. I intend
Betting ofT for Limerick to-morrow ere, and shall leave my
Iriali affairs in such a train, that I can depend on Uie
bosiness being executed as well as if I were on the spot;
at any rate, I have got one material part finished, that of
the technical terms, ete., with their roots and translations,
which we could not do without for the memoir."
" Dboohxda, 8*pt. 39, 1808.
" I am 80 far on my way home. I have got in limerick
what I think will turn out well ; and from Walker, the
Highland aiis, and also a book from him on the bagpipe
principally."
In this connectioD I give here extracts from letters
written to Miss M'Oracken in 1809 when he went to
London about his publication work. He was assisted in
the bnsinese arrangemente by Mr J. Sidebotham, a solicitor
and intimate friend of musical tastes. The letters partlcD'
larly refer to the difficulty he experienced in trying to
urge the poet Campbell to attempt rivalry with Moore, by
translating some of the Gaelic lyrics.
" LoMDOK, Uardt 8, 1809.
" I received your letter, and shall teke care to have the
paper enclosed relative to the brass trumpets, etc, inserted
in its proper place. 1 have been these two days with Mr
223
ANNALS OF THE IRISH HARPERS
Campbell. He approvea very mncb of tbe treatise, whicb he
says ia very ingenious, but wishes to make some alteration
in the language, which he considers in some places not
sufficiently explicit. There are also some notes, which, he
thinks, may be left out ; but, before any change is made, I
shall inform oar friend Harry Joy. This evening, Mr
Campbell and I inteod b^inning our selection of songs.
I cannot help observing, that I cannot be expected to
entertain very friendly feelings towards Power (Stevenson's
publisher), connected as he is in the success of a work
decidedly dolen from what I have been labouring for so
many years to produce, and which I look on as my
undoubted property. He endeavours to persuade every one
that Moore's work and mine do not clash. Certainly they
do clash, un/ortuTuUelj/ /or me. I shall let you know by
to-morrow what Campbell thinks of Hiss Balfour's songs."
"LoMDOM, JlfanA 16, 1809.
"I have so far discharged Cody, that I mentioned I
had nothing farther for him to do, unless he could procure
me some tunes, words, etc., in the southern parte of the
counties Berry, Antrim, and Donegal. I have already
amply remnnerated him for his visit to the North on my
business. All my friends here approve highly of my in-
tention respecting the literary part of the work. I expect
to have an interview with Dr Bumey in a few days. I am
at present hard at work, studying the obsolete notation in
the Welsh Archaeology, and expect to make something out
of it for Mr Joy. I purpose calling on Mr Jones (who
published the Welsh music) in a few days."
" liOKDOR, April 12, 1809.
"I have not got the words from Campbell yet. I am
vexed when I think of all the time and money which I have
expended in the prosecution of my work, with so little
prospect of remuneration, as I have computed the cost of
getting out the first volume alone at not less than from
£750 to £800 for 1000 copies. I do not expect to reap from
224
BITNTING AND THE COUNTRY SINGERS
the pnblication what will pay ma expenses. ... I send you
an engraving of the harp."
" liovDOS, May 5, 1609.
" I have altered mj determinatioo with respect to the
Treatise, etc, and shall now have the letterpress the full
size of the nusic, viz. : folio, I hope to have the work out
in the course of three montha. I have now as many tunes
as will compose a third volume. Let Mr Joy know this
resolution of mine. I have received the poetry, and shall
make use of some of the songs."
"LoHDOR, May S4, 1B09.
" Camphell begins to take an interest in the business
now ; and I expect shortly to have his part quite ready.
I am certain 1 shall not make anything by all my trouble
and expense. I would be obliged by your sending Miss
Balfour's 'Pretty Girl milking her Cow,' I received 'The
Dawning of the Day.' I wish much to get the drawing
from John,* its not being sent keeps me back."
" LoNSOir, SepL 1, 160a
" I received your letter and am obliged for the song.
I have got a very pretty song from a Mr Smythe, of
Cambridge, a professor. 1 shall adapt it to the 'Girl I
left behind me.' Campbell also has written a song, which
he calls ' The March of the Men of Erin,' and it will answer
tiie only specimen I have of the war-song of the Irish,
which is, ' At the Foot of a Eatb.' I expect soon to be
able to inform you of an end to my labours, at least for
a time, as I am determined to have the second volume
oat if possible in Spring. Give my respects to Mrs Connor.
I have set her litue air, ' M'Farlane's Lamentation,' to the
original words, which are well adapted to it."
"LoNSoir, Od. S, 1809.
" I have finished with Campbell, at least for the present ;
and he has promised to exert himself to the utmost for
' Host probsblj a «k*tab portriit of Arthnr O'Neill, the harper. An
•ngTBTiDg of it appaan id tha aciMnd Tolomr, and the original ia amang onr
manuaeiipta.
225 p
ANNALS OF THE IRISH HAEPEBS
my next volume. I have copied out from my papers searly
100 pi^B of poetry ; so yon may perceive how much my
aoDga have accnmalated. I am far from being well at
present, and this proceeds perhaps from my great anxiety
about this work. For, as I must have during my long absence
lost my business in Belfast, I have nothing to depend on
but the sale of this work, for some time at least"
" London, Oct. 7, 1809.
" I am sorry to hear of Oody's intended departure from
Belfast, as he may have some airs which I have not heard.
Will you try and keep him in Belfast till my return ? I
begin to print the music next week. I think my book will
have something to recommend it, as all the airs contained in
it, with the exception of fifteen, have never appeared in any
previous publication. I see by the papers that Faddy Quin is
at present in Dublin. This is in my favour. I have been
exceedingly vexed by Stevenson's having taken my tunes."
" Mancsestkb, Nov. S4, 1609.
"I arrived here last night, and have brought with me
100 copies of my book. I will make all possible dispatch
in getting home, as I require a little rest, but cannot afford
to indulge long, as it is my intention to publish my second
vulnme directly."
The most detailed account that remains to us of the
process of song-collecting as carried out by Bunting is to
he found in the diary, hitherto unpublished, of Patrick Lynch,
who was hia envoy to Connaught in 1802. This diary with
numerous letters is among the manuscripts, and will be found
in the following chapters. It is proper to state here that the
MSS. of Buntings own letters to Miss M'Cracken are not in
our possession, but that the extracts which we have quoted
from them were made for publication from the originals.
CHAPTEE XX
DUST JlSD LVnEBS OP PATBICX LTNCH
Wk now come to the most important period in connection
with Bunting's preparations for his second volume of Ancient
Melodies. As we have seen, he had followed up the work
done at the Harpers' Festival, bj going out himself on the
track of these itinerant musicians into Ulster, MuQSter, and
Connaugbt His visit to Bichard Eirwan had resulted in a
plentiful gleaning, and now again he turned his face to the
west. Owing to the ties which bound him as an organist
and music teacher, his time was necessarily limited. He had
besides to make an important business journey to London at
the beginning of this summer, of 1802 for he was now acting
as agent for the sale of Messrs Broadwood's pianos. So in
order to make the most of the holiday which was in prospect,
be sent a pioneer forward into Connanght ahead of him in
the person of Patrick Lynch, a native speaker of Irish, who
was able to take down both the words and music of the
songs.
W. H, Grattan Flood, Mns. Doc, the well-known authority
on the subject of Irish Mnsical biography, has supplied
us with information as to the origin and varied acquirements
of this man. We have besides at our disposal mauy of his
letters, and the diaiy kept during this tour. For certain
incidents in bis career, we have but to turn to the pages
of the history of a tr^ic era as recorded by Doctor Madden,
227
ANNALS OF THE IRISH HARPERS
in hu " Lives and Times of the United Iriabmen," and the
Bel^t newspapers of that da^ give an even fuller account
of the painful part which he was forced into taking.
As regards his birth and career outside the scope of our
history we may here give Dr Qrattan Flood's account in full.
The other incidents will be related in order as thej occur.
Patrick Lynch' was born near Quin, County Claie, in
1767 or 1758. For many years he acted as a private tutor.
And in 1790 settled in Garriuk - on - Suir. Many writers
incorrectly state that he was a native of Carrick. In 1791
be finished a work, entitled " Cbronoscope " or a chrono-
logical tale of events, but finding no publisher he con-
structed a rude printing-prees, and printed it himself. Two
years later, John Stacy, a regular printer, set up in Carrick,
and from bis press there was issued in 1796 a book by Lynch
called " The Pentaglot Preceptor " with instructions for the
study of English, Latin, Greek, Hebrew, and Irish. In 1800
be issued an Almanack, but though these books were printed
in Carrick he was at the time of their publication already
livii^ in Belfast. He had, doubtless, been invited there by
the group of eager students of Irish, who had been connected
with the Harp Festival. There were many schools in
Belfast, and doubtless the aathor of "The Pentaglot Fre~
ceptor " fonnd occupation as an instructor of youth. Amongst
those who studied Irish with bim was Thomas Russell, one
of the leaders of the United [risbmen, who had retired from
the army, and had taken the position of librarian in the
newly started Belfast Library. Russell, however, was
arrested and taken out of Ireland as a state prisoner in 1796,
and be and Lynch were fated not to meet for many years.
After nine years in Belfast he went to live at Loughin
■ Ste Frsraoe. Tha id«ntily of the SoathtrB Ljncb, with BnDtiug'a
Diku bu baen diipated. I b»T« not fonnd it pouibl« by any mttbod of
invertigation to deoid* whctbM Dt QntUn Flood Bmft^minkted the Htm
of two men into one.
DIABY AND LETTERS OF PATRICK LYNCH
lalftnd, in County Down, bringing with him bis children, but
from one of bis letters we would conclude that be was theu
a widower.
This was his home when, in May 1802, he started oat od
the Connaught tour. In 1803 we shall see he fell into
disfavour with his Belfast employers. Dr Qrattan Flood tells
DB that he returned to Carrick, and published in 1805 his
"Plain, Easy, and Comprehensive Grammar." In 1806 he
settled in Dublin and opened a private school. In December
of the same year he became secretary of the newly founded
Gaelic Society, which numbered amoi^ its members Father
Denis Taaffe, Father Paul O'Brien, Edward O'Reilly (com-
piler of the well - known Irish Dictionary), Theophllus
O'Flannigan, and W. A. HalUday. All these names will be
familar to those interested in the history of the Gaelic
revival In 1808 he helped the Rev. W. Neilson with his
Irish grammar, which, by the way, after a hundred years,
has been largely drawn on by the Gaelic League compilers
of phrase-books. It contains a fine version of the famous
poem "Deirdre's Lament"
In 1808 and in 1810 Lynch edited " Wean's Gents, and
Ladies Almanacks." He also got employment as a copyist
of Gaelic MSS. in Trinity College, and the Royal Irish
Academy. His death took place in 1829.
From all this you will gather that Lynch was a typical
pedagogue, but of more than average capacity, even if we
assume that there was a certain amount of pretension shown
by the author of " The Pentaglot Preceptor." What he had of
Hebrew we know not, the proofs of his diligence as a collector
of Irish Songs lies before us in his numerous note-books, and
in the two large volumes in which be has made fair copies
of the song words.
We shall now quote from bis diaiy and letters. As
Banting was leaving Belfast for London only the first letter
is addressed to him. It tells how Lynch arrived at the
229
ANNALS OF THE IRISH HABPEES
house of Mr Anthooy Banting at Drogheda, and received
directtona and introductions.
" Dkoqheda, April 25(& 180S.
"Deas Snt, — I came here ou Friday evening, and I set
off for Conuaught to-morrow morning. Your brother haa
just now given me three letters; one from Mr O'Connor,
to the Rev. James French, West Oalway; one from Miss
Bellew, to the Right Rev. Dr Bellew, Ballina ; and one from
Mr Edward Bellew, to the Rev. James Magee, Lackan,
Eillala. Your brother has advised me to take the northerly
course, and has drawn from the map the route I am to take
from Drogheda to Cullen, Eingscoart, Cavan, Swadlingbar,
Manorhamilton, Coloony, Ballina, and to Killala, and round
the County Mayo to Newport and Castlebar. I expect yon
will meet me there whea you return. I shall write to
Mr M'Cracken from Manorhamilton, and I promise to yon
Uiat I shall be as diligent and zealous for your interest as I
can, and shall observe your instructions ; and am. — Sir, your
hamble Servant, Patkice Ltmch.
" P.S. — I have also a letter from Mr Connor of Belfast, to
Wm. Bartley, Esq., near Manorhamilton. I suppose I shall
stay a week thereabout.
"To Mr Edward Bunting, Belfast."
Then follows a long letter to Mr John M'Cracken
describing bis progresa —
"Ballina, Man "^t^* I80S-
"Dkas Sir,— X left Drogheda on Monday, 26th April
The rain came on. I stopped in Slane two hours. Game
to Navan, fourteen miles. I slept there, having suffered
greatly by the rain. On Monday, waited awhile in Navan
in order to see Dr Plunkett, Bishop of Meath, as I was
advised in Drogheda. I did not get speaking to him ; be
was aboat some business. On Taesday, from Navan, by
Kells to Virginia, eighteen miles ; on Wednesday, by Cavan
230
DIAET AND LETTERS OF PATEICK LYNCH
to Belturbet, twenty-one miles ; on Thnreday, through part
of CavaD and Fermaaagh to the BUck Lion, twenty miles ;
on Friday, to Manothamilton, eighty - two miles from
Drc^heda ; and six miles more that evening, to a place
called £illargy, near where Mr Bartley lives. I had a letter
to him from Mr Pat Connor. I stayed there, at a public-
house, till Monday evening. I got but six songs from Mr
Bartley ; indeed, they are some of the best of Carolan's. I
got about sixteen more at the pablic-honse. I catne three
miles to Bromahare on Monday evening ; took breakfast at
Colooney, eight miles oCT, on Tuesday ; came to a place
called Skreen, in the Barony of Tyreragh, County Sligo,
where I got five good songs from James Dowd, a farmer ;
that night I treated him and his family to some whiskey,
where I got the five songs, eome good potatoes and eggi,
and a bed in the bam. I came to a public-house on
Wednesday night, within eight miles of Ballina, Yesterday,
6th May, I came to this town. I found Dr Bellew very
civil ; I dined with him and his clergy. I wait here to-day
to get a few songs from a Mrs Burke. I am advised to
proceed directly to Irris, across the country; and to the
Mullet, in the moat westerly part of the County Mayo. I
do not know how long this may take, but I am resolved to
be always either writing or travelling, and to make the best
I can for my employer. I am sure I shall be in want of
money by the time I am at Castlebar. On ray return from
the mountains of Mayo, I know that every week will coat
me a guinea, whether I travel or stop. Mr Bunting allowed
me to keep account of every expense I should be at on
account of the songs ; but I find this cannot be well done,
because my own travelling expense is so connected with the
expense of procuring songs that I could not well keep a
separate account. You will please to let Mr B know
that I expect he will allow me a guinea-and-a-half per week
for altogether, and let me bear the expense for songs which
may be to little purpose ; at other times I will get a parcel
of soDgs at leas cost, and I would not wish to have any
complaint at my return for extravagance. I am now con-
vinced that the best way is to go to the shebeen-houses, and
find ont some little blasting schoolmaster, and warm his
231
ANNALS OF THE IRISH HABPERS
month with whiskey ; and be will find out the Bingers for
me. For my own part, you may depend on it, I shall drink
DO whiskey nor spirits until I return to Belfast I shall live
as the case requires in this wild country. I hope I shall be
able to show twenty-one songs for every week that I am on
this tour, and more if I can. I have no place as yet that
you could write to me; I suppose that I shall appoint
Castlebar for my address. P. Lynch.
"P.S. — I have just now procured a correspondent in
Castlebar by means of Dr Bellew. You will direct a letter
to me, on the receipt of this, to the care of the Rev. Dr
Egan, Castlebar. Dr Bellew will wiite to this gentleman
to release and keep the letter for me until I come. Should
it be there before me, you will please to send me three
guineas by this conveyance. — And oblige yours,
"P. Lysch.
" Mr John M'Cbackkn, Jun., Belfast."
A copy of this was sent on by Mr M'Cracken with the
following letter from himself. It refers mainly to business
transactions, but begins with a pet name, possibly bestowed
on Bunting by the child referred to in the postscript. Eddy
pronounced with the broad Belfast accent, and imitated by
an infant learning to speak, would easily turn into "Atty."
"To Mr Edward Buntino, c/o Messrs Broadwood & Son,
Great Pulteney St, London.
"Mag Ibtk 180S.
"Dkab Attt, — I received your letter from Liverpool,
and was glad to hear you had a good crossing, and I hope
your journey up to London was equally pleasant. I annex
copy of Lynch's letter to me. I posted the money as he
desired me. A letter from Wa — (name here torn out) to
hand which mentioned his intention of coming to this town
immediately as a musician under your auspices, and for fear
of a disappointment, I have informed him of your absence,
232
DIARY AND LETTERS OF PATRICK LYNCH
and the probability of your not retarning for about aix
weeks.
" Nothing new haa occurred except that we have got the
great Mr Ireland at work, and Mrs Shock on the slack wire.
I have Master H. Graham lodged in Carrick, and yesterday
one Geo. Hadskis, T. Erskine, a publican, and Mrs Walker,
whose husband made his escape out of the Prevot, were
also committed for forging bank-notes, and she is said to
be giving information, therefore I expect this town will be
free from forgers and swindlers for a while. Mr M'Tear
promises to claim the year's rent, and when paid to let me
have the amount of the I.O.U., which there is little doubt
of his doing. I have just received £10 from Mosey
Moreland'a Note, but Knox would not pay the four-and-
ninepence without his orders to do so. I likewise called
on Dr M'Gree this day, and he says that he will pay me
seven guineas to make up ten with what you got from him.
When I get it I will no doubt inform you thereof. Eliza
Templeton wonders where he got money to purchase the
oi:ganized piano from you. She has been with us these some
days. I hope you will not forget to call on Mrs Green and
pay her. I enclose you the bill you got from Mr Potter,
which was foi^tten, and also a bank note for £b, 138. 9d.,
and when you write mention what money you want Please
to give my compliments to your brother, and believe me so
as ever, — Your friend, John M'CaAOZBH, Jr.
" jP-jS. — Loughy thinks great long for you, he wakens the
whole house at four o'clock, and won't let us sleep till I
get up. I hope when Frank comes home he will keep him
in better order."
Lynch in due time reached Castlebar and reported
progress to Mr M'Cracken.
" Casilebak, May 24tA, 1808.
" Sir, — I received your favour of the 13th, this morning,
wiUi the not«s £3, 8s. 3d. enclosed. I came here last night
from Newport.
233
ANNALS OF THE IRISH HARPEBS
"I left Ballina on Friday, May 7th; went about five
miles to Priest Conway of Arda^. He was hoapitable,
directed me to a Schoolmaster, Anthony Carrin near Killala ;
picked up two eongs on the way — cost a little whiskey, and
tobacco. On SatuMay evening treated the Schoolmaster in
a Shebeen -house, stayed there all night, got but little rest,
came to the Schoolmaster's house on Sunday morning early ;
took down two songs from him, went to Maaa, from thence to
another Shebeen-house, where I got four good songs from the
man and the woman of the house ; the Schoolmaater left me
there ; presently some people came in who began to whisper
to the man and woman of the house, that I was come on some
other device than looking for songs, and that I had written
down their names, and would have them ruined for selling
without License ; the man of the house told me that he did
not believe that I intended bim any harm, but I found his
wife growing very shy, and also a neighbour of theirs, who
was to meet me and give me songs. I had to set off. I
did not know where I should lodge that night ; by good
fortune I met the Priest, who brought me to his own house
where I stayed all night, and came to the Schoolmaster on
Monday morning.
" I got but one song more from him — three in all, and
four in the Shebeen-house, and two on the way on Saturday
before — nine since I left Ballins. Having travelled many
miles through the Barony of Tirawlay, I set off in every
direction to Crossmoligna, where I bought paper, and
tobacco, and set on Monday evening towards Erris, a dreary,
bleak mountainous country. I came to a place called
Buliag, where there was but one house, I stayed there all
n^ht, and gave the people some tobacco for their hospitality.
I got up early and made a journey of upwards of four miles
that day. I had to cross a great moor, such as I bad never
seen before, which fatigued me very much, until I crossed
a great river, called Avonmore, where abundance of salmon
ore caught. When I found myself growing very feeble, on
the side of a mountain, I espied a sorry looking cabin, where
I rested near an hour, got one song, gave them tobacco, they
fave me potatoes, and nulk, and I found myself quite refreshed,
had now divided my tobacco. I enquired and found a
234
DIARY AND LETTEES OF PATRICK LYNCH
place where tbe^ sold aome, at three and threepence a lb.
I bought half a lb. of it, and came late in the evening to
Daniel Kelly's near the entrance of the Mullet, where I was
well entertained with potatoes, and eggs, and fresh oysters,
with plenty of milk and butter. But they make no use of
bread in this country. I came into the Mullet on Wednesday
to Mr Richard Barrett's of Com ; I stopped at a Shebeen-
house hard by. I had been advised by Dr Bellew, Mr
CoDway, and others at Ballina, to go to Mr Barrett, he being
a man of good information of a happy retentive memory, a
good singer, a born poet — id short, ttmt he was equal to any
of the Bards if not superior.
" Mr Barrett is certainly a very agreeable companion, and
I found him exceedingly civil ; yet I found myself greatly
disappointed with respect to what I chiefly wanted. I got
after waiting some days six songs from him, pretty good
ones. He was short of tin. He keeps a little Academy, for
the gentlemen's children of the Island. There are a great
many genteel people, men of landed property in the Mullet
I suppose the young men of them had most of their education
from Mr Barrett ; tiiej pay him great respect, and are very
fond to see him in the evening in the whiskey house. I
must tell you, Sir, that one evening, as Mr Barrett and I had
been in company with three or four of these young bucks, a
Mr O'Donnell called him aside, and after returning aaya,
'I think Mr Barrett has no right to give away his own
compositions, the fruit of his own brain, too cheap. If he is
willing to give me the copy and copyright of aH his own
songs I shall be willing to give him five Quineas for them.'
' Sir,' said I, ' I think Mr Barrett has a right to the profit of
his own works, and I doubt not but they are worth more,
meanwhile I have no orders to take the works of any Poet
now living.' ' How so, why so,' cries all the company, ' what
have you come here for? Was there ever any poet in
Oonnaught, ancient or modem, superior to Mr Barrett ? '
' Gentlemen,' said I, ' I make no doubt of the excellence of
Mr Barrett's compositions, but my orders are to collect the
songs of the old Bards, and I was told that Mr Barrett
could give more old songs than any man in ConnaoghL'
Thos it ended.
235
ANNALS OF THE IRISH HARPERS
"Whilst I stayed on the Island I made three or foor
excursions, to different little villages, for their cabins are ftU
in clusters on the sides of the hills, and they seem to live
very comfortahly. There are & good many neat elated
houses mlerspereed through this Peninsula where the
owners have some free lands, having income, some £200,
some £300, and some £500 a year, they live cheaply here and
seem to be very happy. I was not invited to any of these
gentlemen's houses, though I had seen and conversed with
some of them ; but I understand it is not their custom to
iovite anyone below their own rank ; but if they come
of their own accord they are welcome and treat them very
hospitably. I had to call for whiskey wherever I applira
for songs, and they sold whiskey everywhere. I left the
Mullet oa Thursday and came to Daniel Kelly's outside the
Peninsula where I got four songs ; cost me 2s. 8^d. for
whiskey. Friday came to Avonmore ; the flood was so high
I stayed all night in Patrick Deane'a by the riverside ; he
sent his horse with me over the river. Saturday morning I
croased the Craggy Mountain, and the roughest road that ever
was travelled ; saw no house for sixteen miles, but one cabin
at a distance, having waded to the knees through or across
seven rivers, till I came to Strathfern, where I thought to
stay, but the few huts dispersed about the place were hard to
come at. I crossed a watery marsh to come at one of them,
where I found one old woman, and a dozen of kids, and two
young calves. I asked a drink, I got good milk, I returned
tobacco, but I could see nothing like a bed in the bouse. I
asked how far to Newport, they said four miles. I set off
and crawled along very tii«d, came to Newport about ten at
night.
" I met a Dr Mack, who told me he bad songs. I treated
him, and found he wanted to be very costly to me, and that
he was but a poor sconce.
" I left Newport on Sunday at three o'clock, and came here
last night, and am. Sir, wiUi respect and gratitude, — ^Yoor
humble servant, Patbick Ltmcb.
"P.8. — I bsve just fifty songs in all, I shall use my utmost
endeavours. You shall bear from me (^in. I do not know
236
DIARY AND LETTEES OF PATEICK LYNCH
how lot^ I shall stay here. I suppose I shall go next to
Westport, but I mnst look oat for some place for your next
remittance, which will be wanting in three weeks from this
date. I wish I could hear from Mr Bunting. If you have
any to send immediately, yon may direct here as before."
We now turn to the traveller's diary, in which he
recorded' a parallel account of his adventures.
CHAPTER XXI
DIABT AND LETTKB8 OF PATRICK LYNCH — (eOtUiniUtT)
The first entry Id the diaiy is dated May the 12th, and
simply Dotee bis arrival at Mr Barrett's of Corn on Bellmnllet.
Then follows a list of nineteen songs taken down there. Next
comes the brief significant statement, " May 29th, at KeUy's
four songs, four half-pinta." Some additional details are
given regarding the difficulties of bis journey, already related
in the letter. It will be seen that quite unwillingly he laid
himself open to a charge of cattle-driving, and had consider-
able difficulty in obtaining a lodging in Newport. In short,
it is apparent that our " Pentaglot Preceptor " was not the
sort of man to inspire confidence. Recollect that only a few
years before the very ground on which he bad walked at
Killala and Castlebar had been marched over by the invading
army of Humbert. There had been the " Castlebar races."
There had been later arrests and executions. The first letter
which he posted to Mr M'Cracken, drew down a storm of
suspicion. The diary proceeds : —
" 21st May. — Came to Amhan Mor, six miles. Can't get
over the river. I am now waiting for the flood to fall at
evening. I suppose I most stay all night in this house by
the river side.
" Sat., 22nd. — I stayed at Amban Mor last night in Pat
Dean's, I got his horse this morning over the river, about
nine o'clock. They told me that I^ewport was twenty miles
oCT, a bad road, no houses on the road, all moors and
mountains, it's a shocking road to Tarsnach five miles. I lost
DIAEY AND LETTERS OF PATEIOK LYNCH
my way at the rirer, I wandered along the river, stripped
and crrased twice. I diBcovered a few huta, and men settii^
rtatoes. They invited me to come in. I declined, as I found
should have twelve miles more of a mountain, and no
bouse, but one, and that I should be late before I reached
the next cluster of huts, which the^ called Strath-Faime.
I sit now at a river side, between two high mountains, it is
about three o'clock. A little heifer has followed me these
three milea' I can't get it beaten back, she is lying chewing
her cud hard by me where I ait,
" Stbath-Faione. — It is seven o'clock. The heifer has
followed me over five branches of this river. There are but
few huts here. I cross a moor to a cabin of stone. It is the
best looking of them. I got a drink, gave tobacco, and took
a smoke. I am very tired but I see no way to stay here all
night. The house is full of young kids. Oh, what goats.
I wish I had straw I would stay here. The woman tells me
there is a house two miles on, where I may lodge. I leave
the heifer in her charg&
" The sun is down, I sat down on a stone before the door.
I oaked for a drink, I get it, but no invitation. I got into
Newport about nine. I asked where James Connor lived.
A yonng man came to show me, he leans over the half door,
I asked for the Landlord. He is over the way — sends for
him — he still holds the half door — Landlord comes — I want
to speak to the young man. 'Sir,' says I, 'can I have a bed
here ? ' ' I am not sure,' says he. Dr Mack comes out
' How do you do. Sir, I liope you are well ? ' 'I thank you,
Sir,' said I. ' Come in, Sir,' said the Dr. I got in with some
difficulty aad sat down. The Dr sita down by me, 'You
must have lodgings here, Sir, I insist on it.' He asked roe
questions, I declined.
" After a council was held the Landlady comes and says,
' Sir, I have no lodging for yon, here.' ' Good nivbt,' said I.
The Dr follows ma I strive to shake him off, he pursues and
calls. I stop. ' Sir,' said he, ' I'll tind you a lodging.' ' Sir,'
said I, 'do not trouble yourself, I shall miUce out one
myself.'
' Qnai? — wu Lynoli ringing u ha went ftloiig 1 Cowi va wid to b*
■ttnct«d bj muic.
239
ANNALS OF THE lEISH HAEPERS
" 'Do, Sir, come with me. Fll find you a good bed shall coet
you nothiog,' I go with him to the house of one Cannon.
He invites me to coffee. He orders bread, batter, sugar, and
beer to be seat for. He said they are already paid for, bnt I
had to pay for all bnt the coffee. He invites the whole
family. They seem not pleased with the Br for impoeing on
me, bat I saw at first sight that be was a old sponge.
However I pressed them all to take share and we had plenty.
I got a good bed. The breakfast was ditto. I got a song
from the Dr. Got Mass at one o'clock — promised to stay
with the Dr. if he would give half a dozen songs before
dinner,
"N«WP0BT, Tuesday, 2 o'doek. May the 23rd, 1802.— I
went out to the top of the high hill east of the bridge to
view the town, it looks very pleasant, Sir Neal O'Donnell's
mansioQ at the south-west end, the shell of a good new
chapel on the north of the town. At a distance I see an
agreeable prospect of the Kick or Cruach Patrick on the
south, and the lofty Mount Nefin on the north. Achill on
the west, and the awful promontory. Glare Island with
many other islands on the south-west
"3 o'clock. — I found the doctor's songs would be dear
bought. Set off for Castlebar — arrived at eight — took a
private lodging — waited on Doctor Egan on Monday at nine
o'clock. He was just going out on business — had the good
luck to get Mr M'Cracken's letter from Belfast with the
three guineas — it's past ten, I have taken breakfast in a
private house — Doctor Eagan did not invite me but said I
might call again in the course of the day. He made an
apolc^y that nis house was crowded with billeted soldiers.
" I went to the house of John M'Dermud, a shoemaker,
where as I had been told, I might have a room and bed —
he had none to let — I told my business — he promised to
assist me. I dined at my lodging, having written a long
letter to Mr John M'Cracken giving an account of my
travels and progress. I went to the Post OfBce — and having
the letter unsealed, I went into the hall or shop of the Office
where I saw a civil-like young man behind a counter, as one
who attended the Office. I asked for a wafer which he gave
me cheerfully. I asked him to put hie own seal on it, he did
240
DIARY AND LETTEES OF PATRICK LYNCH
80. While be was sealing the letter, I asked him some
questions about the despatch of letters, about the time of
tiie post coming in and going out. This gave occasion to
a curious circumstance incident, blunder or balderdash which
came about next da;. Monday evening about nine o'clock,
I treated M'Dermod to beer in John MacVeily's. This
landlord sung a good song and told me the names of some
who could sing for me, particularly Joe Rush, a shoemaker,
and Pftt LjDch, a hainiresser. Tuesday morning I went
to this Lynch to be shaved. Let him know my name —
treated htm and his wife in MacYeily's. The barber asked
me to come back to his shop to get my shoes and coat
brushed, and whilst he was brushing my back — in came
Doctor Egan and two or three more along with bim. I
understood he had been in search of me — I was a little
surprised, and after a short salute, he asked me if I had
examined the silver he gave me yesterday. I told him I
did not, ' I expected you back in the course of the day,'
said be. I answered that I had gone twice in the evening,
but that he had gone out He said there was Is. 8d. due
for the postage of the letter. ' Sir,' said I, ' I did not
recollect at the time, but I assure you that I was at this
instant going to wait upon yon.' I found myself growing
a little warm end confused. I did not know what to think.
A gentleman whose patronage I had soughi and expected
whilst I had stayed in town, I had been warmly recom-
mended to him by the Bishop of Killala. How could he
think that I would run away immediately without paying
the expense of the letter ? But that was not all, I pulled
oat my purse and paid him. He gave a nod, a wink, and
a side gnu, to some man who stood by, and then asked me
if I had been at the Post Office yesterday evening. I told
him I was. ' Well sir,' said he, ' I am informed by good
authority that you demanded a certificate of that letter
having been in the Office and given to me.' ' No sir, I
asked no certificate, my business was to post a letter, I
asked nothing but a wafer from a young man who attended
in the office. He sealed it for me, and returned it to me
again and told me to drop it in on the outside.'
" ' Sir,' said he, ' the lady who keeps the Post Office says
241 Q
ANNALS OF THE IRISH HARPERS
tliat you stood in the hall while another person went upstairs
and aaked the certificate for you which the lady refused to
give. Now, sir, I would not for a thousand pounds that it
should be said that I would deny the letter or the money
contained in it when the proper person apjieared to
demand it.'
" ' Sir,' said I, ' it must be a mistake, I know nothing of
it' ' Will yon come,' said he, ' and face the lady.' ' I shall,'
aaid I. We went in a crowd to the OFBce. The lady was
called down. 'Well, madam,' said the Bean, 'is this the
gentleman who wanted the certificate ? ' ' Yes,' said she,
'I heard hia voice. He did not come upstairs but Mr
Gallagher came up and asked it for him, and I said I would
give no such certificate without letting Dean Egan know of
it My little boy saw him whilst he waited in the hall for
Mr Gallagher. The boy was called, and testified that I
came in vnth Mr Gall^her, that I stayed in the hall while
Mr Gallagher came downstairs, and that we both left the
house at the same time. 'Now,' said the Bean, 'this lady
would say nothing but the truth, and this innocent child
would not tell a Be.' ' Sir,' said I, ' it is all a mistake, I
spoke of no certificate, I spoke to no person here but to the
yonng man who attended the Office. Let him be called he
can testify. I know no Mr Gallagher.' The lady gave a
stem look and says, 'Lord, how can yon be telling suoh
barefaced lies ? ' We left the shop. The Bean looked sour.
The street was crowded with decent-looking people, looking
and listening to the trial. I was condemned. All the people
staring at me, I was still calling for the young man who
had attended the office on the evening before, but he never
appeared. I had called for Gallagher — the Bean had sent
for him. He would not appear, I called out in the street
for Gallagher. I begged of someone to show me where he
lived. The lady then gave tongue out of the window and
said I knew well enough where he lived. The crowd still
continued. I had to make a public speech in the open
street of Castlebar in my own defence.
" The Dean then asked me if I would give him a receipt
for the money. I told him I would with pleasure. After
I had given him the receipt he told me that I need not
DIAHY Am> LETTERS OF PATRICK LYNCH
r've myself any farther trouble for that he was now Batisfied.
told him that I waa glad to hear it, but that I waa not
satisfied myaelf to be accused of any design of fraud, and
to be publicly called liar by that lady, and that I would not
quit the town until I should prove the falsity of the accusa-
tion. I set off to the barber's and begged of him to show
me where this Gallagher lived. He came with me. I
showed the letter to Gallagher, and asked him if he knew
me, or if I had ever applied to him to get a certificate for
me, or if he had aaked for one in my name at the Post OfGce
yesterday evening. He said no. 'Well sir,' said I, 'it
behoves yon to step forward and testify the truth.' Gallagher
then looked at Lynch the Barber and said, 'Damn your
soul, sir. Why, but you told the Dean immediately. Waa
not it you that went with me to the Post OEGce ? Wasn't
it for yoQ that I asked the certificate ? What did I know
abont this gentleman? Did not you tell me the letter
was for you, and that the Dean would not show it to you ?
Go directly and tell all about it, or by heavens I'll kick
yon.'
" I requested Gallagher would come himself. He gave
a note to the Dean which explained the mystery and cleared
me. The Dean seemed now to be convinced. I told him
I would be thankful to him if be would take a walk with
me along the street, and let the people know it was a mistake.
He did bo. We came to the Post Office, but the lady would
not appear. The Dean stopped to tell every one that he
met how I was wronged. He came with me to the fields,
for Uiere was no other way.
" So much for a cheap lodging. I paid but Is. 7d. a day
for diet and lodging, and I think it was dear enough. I
resolved to leave the Town on Wednesday, June the second,
and called on Dean Kgau, and told him that I was about
leaving the Town, and that I wished always to have the
sanction and approbation of the clergy as I travelled, and
that I hoped he would give me a few lines as Doctor Bellew
had written to him in my favour. He did not deny me,
but he looked very queer as if he was afraid, and after a
short pause be suddenly started off and bade me good
morning. 'Good morning, sir,' said I.
243
ANNALS OF THE lEISH HAEPERS
"I set off to Belcarra, foar miles east from Costlebar.
I stopped at Tom Walsh's, a pretty good kind of Ino,
and very civil people. I stayed there two nights, got ten
From Belcarra he wrote the followiDg letter to Mr
M'Crackeo, omitting any reference to his difficulties with
the post-office ; but it is evident that Dr £gan, who looked
80 queerly at him in parting, must have suspected that
he was really on a political mission from the M'Cracken
family and the Belfast United Irishmen.
" Sm, — I made good progress in Castlebar. I got forty-
seven songs in it, having stayed ten days, it cost me jnst
two guineas, notwithstanding that I had taken lodgings in
a private house, where I paid but oightpence for dinner,
eightpence for breakfast, and threepence for the bed; so
that I lived as low as possible, in order to spare the more
for procuring plenty of songs in a short time. Here is
the method I took. Finding that Dr Egan was not going
to give himself much trouble about me or my business, I
resolved to apply myself to the lower classes. Thus, on
Monday evening the 24th, having poatod the letter to you,
which gave account of my travels and progress, together
with the receipt of yours of the 13th and the notes enclosed,
I walked about the town, not knowing whom to apply to,
and passing by a brogue-maker's shop, I heard him sinj^g
a good Irish song. I stopped in and asked him if he would
tale a pot of beer, fie came with me to the house of a
John M'Avilly, a jolly publican, who sang well, and was
acquainted with all the good singers in town. Under
Tuesday I found out a hairdresser, a shoemaker, a mason,
and a fiddler — all good singera I attended the mechanics
in their own houses and workshops. They would take no
money. I had to treat them their wives and children. I
stock close to the business both early and late, till I drained
them of all the songs they had in a short time. It is rare
244
DIAUT AND LETTERS OF PATRICK LYNCH
to get past four songs (lom one peraon, nnlesB such songs
OB I have fUmkd^. I got these forty-«eveD songs in Castlelnr
fonm nine difTetent persona, and as soon as I foimd myself
nnemployed, I set off out of town, and stopped here in the
house of one Walshe, in this village called Belcarra, four
miles from Castlebar. I hare got six songs last night in
this place. I mean to go through some of the villages in
this □eighbourhood, and in about a week I shall be in
WestpoTt, and shall be in need of money. You will pleaae
to remit me four or five guineas, and direct your letter
thus — ' Mr P. Lynch, Irish Professor, now on a tour through
Connai^ht, to ttie care of the Rev. Dr Lyna^h, Westport,
County Mayo.' I have just gotten in sll a hundred and
three songs. I woald wish to have instructions from Mr
Banting, otherwise 1 would be glad you would give me
your own opinion and say whether I am going to too much
expense or not I hope Mr Bunting will come and meet
me, if not in Westport, at least at Galway. You shall have
another letter immediately, after I receive yoars in West-
port, and I am. Dear Sir, your humble servant,
"Patrick Lthch.
" P^. — Dear Sir, you will please to write a line or two
to the Rev. P. M'Oarten of Lc^nin Island, and let him know
that I am alive. Or send some word to my children, and
it will oblige me much."
> A^in we torn to the diary : —
" Came to Westport on Friday evening June the fourU).
Posted a letter to John M'Cracken, Belfast Took lodging
in a Public House, Tom M'Myler's, good bed, good diet, but
it is too dear for me, 2b. 8d. a day. I spoke to the Rev. Doctor
Lynagh, on Saturday, he seemed to be clever and willing to
encourage me, but he was thronged with confessions and an
ordination which he has to attend. He is gone to Tuam.
They told me of a great many good singers in this Town,
but I find myself often disappointed. They offer me the
same songs I got before. I have got six from Redmond
ANNALS OF THE XRISH HABPEfiS
Stanton, two from Pftt Gibbons, two htna John Moran,
and one from old Mr M'Myler, my landlord's father-in-law.
Some of them I bad before, but I think I have got a proper
copy of ' Tighema Muigho " from old Bedmond Stanton, the
blind man. On Wednesday, June the ninth, I bought half
a pound of tobacco, and made an ezcnraion eight miles
from Westport south in a mountainous country called
Drummin to the house of a John Oaven, he ia gone to
Ball Fair.
" Thurtday, Jvmx the t«nth. — In John (Hven's I got e^ht
songs from Norah Denny, Nancy M'Loughlin, and Mrs
Gaveo.
"Friday, elffvmth. — From Mrs Gaven, one, from Mrs
M'Loughlin, four, from Sally Hanretty, three.
" Ur Gaven came home on Saturday momiag On
Saturday I went to Coill Mor, one from John Gaven's to
Pat M'Donall's. I <^ve his daughter some toys. I got four
or five songs, and dined there on fresh trout
"A friar came from Westport and said Mass in John
Qaven'a on Sunday. He stayed till Monday.
" Monday, June the fourteenth. — I spent this day writing
a list of my songs. I drew one for myself and another to
send to BelfasL Next Tuesday fifteenth and Wednesday
sixteenth, I spent this time in Mr Gaven's, got a few songs
and went to Westport in the evening. I enqnired for the
letter in the Post Office. I fonnd it was not come nor was
Doctor Lynagh at home from Tuam.
" Thursday the sevetUeenth. — I expected the letter, I went
to the Post Office, I enquired if there was a letter for Patrick
Lynch to the care of Doctor Lynagh. The Postmaster said
no, and I said it was a wonder for I bad posted my letter on
Friday was eight days. While I was speaking the sulky
Postmaster shut the door against me. I went to my lodging,
met with John Gaven and his wife, I sat with them some
time to treat them for their civility, when I fonnd that Kelly
the Postmaster, had told several persons that I was a
suspicious person that would soon be taken up. Now I found
myself in an unpleasant situation. My money gone to a
few shillings. No remittance coming, and told by several
people that I would be reported to the Marquis of Sligo by
246
DIAKY AND LETTERS OF PATRICK LYNCH
this Kelly, the Postmastor, and that he was an Ul-disposed
" Friday morning, June ISth. — I waited on Doctor Ljnagh.
I fooDd him very civil and seemed willing to oblige me.
I showed him what papers I had from R. I. Academy from
Mr Forde and from Mr M'Carten. He told me they were
snfBcient to keep me from much trouble, but that I ought
also to have acme credentials from Belfast from whence I
had my mission — someUiing to show when I came into any
town explainiog the nature and desigo of my business,
certified by some gentleman well known. He told me he
would go to Kelly and convince him that I had no design
but merely what I professed, aod that he write with me to a
priest in Mnrrisk on Sunday and not to write to Belfast till
Saturday expecting better news.
" Fnday evening, Jwne 182A. — I left Westport and came
to John Gkven's where I found myself made welcome.
"Saturday, June l^th. — Id John Gaven's of Drummin,
south of the Rick three mile^ from Westport.
'^Sunday, June 20(A. — Game from Drummin to Westport
eleven o'clock. Doctor Lyuagb is gone to Newport. No
letter. I have hut a crown, my dinner is to pay out of it.
I do not know what to resolve on. No answer to the letter
I posted on the fourth instant. I suspect my letter has
been detained by Kelly.
"Monday, 2l»t. — I went to Lewisburgh ten miles south-
west from Westport, had a letter from Dr Lynagh to Mr
Ward the Parish priest. He was in Westport behind me.
I thought to have stayed at Murrisk four miles from
Westport, but could get no lodging. I proceeded to
Lewisbuigh and slept in a public-house. Hugh O'Donnell's
cost Is. 7d.
" Wedjteaday, 23rd. — I went three miles further west
to Duach M'KeoD in quest of an Owen O'Maily, a school-
master, who I was told was an Irish scholar, and had
manuscripts. I saw none with him. He repeated a long
song which I wrote concerning an image which had been
cast ashore in the West, or ratJier of two imt^es, the first
of a fine woman, and the second of a Turk or Saracen.
This was the third time I had written some parte of that
247
ANNALS or THE IRISH HARPERS
aong. In the eTeoiDg the Bchoolmaster brought me to a
fatmer's house, Patrick Gibbon's, where I stayed at night
and got two songs, but I lost mj knife."
(The loss of the knife, carried for the purpose of mending
his pen, accounts for the brevity of further entries in
the diary.)
CHAPTER XXII
DUBT AHD LETTSBS OF PATKIOK hlSCE—iamtintied)
An urgent letter waa now writtea to Hi John M'Gracken,
enclosing a liat of 150 songs a^ evidence of his diligence.
"Webtpoht, Zlft Jwu ia09.
" Deae Sis, — I posted a letter to 7011 on fiyday the 4th
of June inst. tjiat yon shonld lemit me 4 or 6 guineas and
direct to the care of the Bevd. Doctor Lynagh in Westport.
I have gotten no answer. 1 am uneasy. I sDspect that
my letter was suppressed or detained so that it has not
come to your hand. I hope the money is not lost. I
know not what to think of it or how to proceed. The Eevd.
Doctor Lynagh is a worthy gentleman. I have agreed
with him that you shall write immediately to him and
send the notes enclosed for me without having my name
on the outside and they shall be safe. But if you have
received my letter and have sent the notes and that your
letter is detained from me, in that case I must leave it
to your judgment how I shall be relieved out of this placa
There is a Mr Patten a merchant in this town perhaps
you could End means to draw on him for a supply to me.
Dr Lynagh advises me to procure as soon as possible some
credentials in form, declaring the design of my Mission
and this formula to be approved and signed by some well-
known military gentleman such as General Drommend, etc.
I am sorry I had not such with me from the beginning for
though the times are peaceable the people here are still
suspicious of strangers and it is with difficulty I can con-
vince them that I have no design in travelling but merely
to procure Irish songs to be set to music.
249
ANNAI£ OF THE IBISH HABPEfiS
" I have had good success till now but the want of
money impedes my progress. I send you here a list of
150 songs with the names of the persons and places, where
I got them, for Mr Buuting's use. I would be glad he
was here now. I wish yoa could let me know whether
I may expect him or not. — I am, Sir, with respect Yrs.
"Patkk. Lynch."
"Mr John M'Ckackbn."
This letter, with an accurate list of the eongs and aiugers,
is among our MSS. It was evidently handed by Mr John
M'Cracken to Bunting, so that when, at a later date, he
set out to follow Lynch, he was able to call at the different
singers on the way and hear the songs himself. That he
brought the document with him, had it available for ready
use in his pocket, ia proved by the fact, that on one of
the folds of it is noted a list of the places visited on Uie
return journey and their distances. This will be quoted in
its proper place.
" Thursday, mid-summer day. — I came back to Lewis-
borough, inquired for Mass, was told it was to be had a
mile and a half south towards the mountains. I met the
priest, gave him Dr Lynagh's note.
" He had Mass in a gentleman's house, a Mr Garvay's.
This gentleman kept me for breakfast, it was one o'clock.
I heard of a blind piper, a Billy O'Maily, who had the
greatest variety of Irish songs. I came to bim he had a
house full of young people dancing. I found he had many
songs which I had not got before. I agreed to meet him
next day.
" I returned to ODonneU's, got some dinner, had some
beer with a Tom Byrne, a weaver, a quack, and farrier, a
conversable man, who offered to introduce, and direct me
to all the best singers, and also to get me free passage
into all the islands.
"Friday 25fA.— Paid my bill 28. 2d., and went to the
250
DIAEY AKD LETTERS OF PATRICK LYNCH
house where I had seen Blind Billy yesterday, sent for
him gave him a sbilling, and grog, took down six good
songa, cost me 2a. 8^, my money ia near gone. I came to
Westport
"Saturday, June 26th. — In Mr M'Myler's I visited
Dr Lynagh twice — no letter come — I called with a Mr
Watt O'Malley, a shop-keeper, he gave me two songs, and
two epigraphs. I have but one shilling and am dae in
58. 5d. to the Br.
"Sunday, June 27th. — Due to Mr M'Myler since last
Sunday, to wit.
" Dinner and lodging
" Dinner on Monday
" Lodging do."
The entries from 27th Jane record only a dismal list
of dinners, breakfasts, and nights' lodgings for which
be is in debt to the landlord, M'Myler. There is a due
admixture of pints, quarts, and naggins, which may or may
not have been consumed by singing visitors. No names of
any are given, however. It is evident bis credit was good,
owing to the kindly recf^ition of the Rev. Dr Lynagb, but
he was in a miserably anxious condition, imf^ning that some
catastrophe had overwhelmed all his Belfast friends. It is
quite possible that they had recognised that correspondence
with them had brought the unfortunate man nnder suspicion,
and forebore writing on that account. Bunting had by this
time set out too meet him, but unaware of approaching
relief, he continues his dismal notes of beds, breakfasts, and
dinners. On the margin of the book is written a Gaelic
phrase which translates, " A pity of a lonely man, without
friends."
M'Myler, the landlord, had only one poem to sing or
recite for him. It was a lengthy one, on the subject of the
Day of Judgment. This only served to deepen the gloom.
Tuesday, 29th June, he records as the Feast of St
Peter, leaving St Paul ont of the question, though half the
261
ANNALS OF THE IRISH HABFEBS
honour of the dij is his by right. Evidently Lynch
celebrated, aa there is a note of " three quarts, and a naggin
raw." On 2ad July he wrote in despair to Miss Mary
M'Cracken, and to Dr MacDonnell, Bending the letters to
Castlebar.
" W EBTFOKT, JtUg %nd, 1802.
" Madam, — I am too long detained in this place, expecting
the retnm of letters I wrote to your brother John ; one on
the 4th of Jane, and the other on the 21st Finding no
answer coming to either of them, I have taken this liberty
to write to you, and to let you know that it was agreed
before I left Belfast, that I should correspond with your
brother, in the absence of Mr Bunting, and that he would
remit me such sums as would be necessary on this journey.
Consequently, I wrote to him from Ballina, on the 7th of
May, and received his answer according to appointment,
in Castlebar, with three guineas in notes enclosed. I wrote
immediately, on receipt of this giving account of my progress
through the mountains of Erris. I stayed in Castlebar some
nine or ten days ; had good success ; got near fifty songs
and chiefly from the mechanics. I found it expensive. It
cost me two guineas. I went to Bellc&rra, and stayed there
two days. I came to Westport on the 4th of June, and
posted a letter to Mr John M'Cracken, giving a further
account of my prepress, and requesting another remittance
of five guineas, to the care of the Bev. Dr Lynagh in
Westport I must now tell yon. Madam, something about
a bitter orange. When I went to the post-office I had no
wafer. I asked the poetmaster to seal it for me ; I said it
was for Belfast. He looked very sour; he gave me the
wafer, but refused to take the letter in his hand. He told
me very roi^hly to put it in outside ; and immediately he
closed the door against me. I found before I was three
days in Westport, that this postmaster, whom tbey call
Sergeant Kelly, had told several persons, that I should and
would be apprehended as one on some secret mission from
Belfast. I could not get many songs in Westport on account
of this report ; for the persons from whom I expected them
262
DIAEY AND LETTERS OF PATRICK LYNCH
were airaid to be seen in my compan}-. On the 10th of
June I left the town and went eight or nine miles into the
mouDtsins, south of the Bick, where I got about thirty songs
at a cheap rate. On the 16th I returned to Westport On
the 17th I inquired at the poet-office if there was a letter
for Patrick Lynch, to the care of Dr Lynagb. Kelly said no.
Said I, ' it's a wonder. You mind, Sir, I poeted a letter here
on Friday, the 4th ? ' He made no answer, but looked sulky,
and closed the door against me. Whilst I was speaking, I
began to suspect that Kelly had suppressed my letter. I
was told by several persons that Kelly would have me
confined, unless I had good credentials to show. On Friday,
the 18th I waited on Dr Lynagh. He was very civil. He
told me to have patience for two or three days ; and hoped
that my letter had not miscarried ; and that he would go to
the post office and convince him that I had no design, but
merely to look for Irish music. I went back to the
mountains in the evening and stayed till Monday, when I
returned to Westport. On, Monday, June 21st, I wrote a
letter to Mr J. M'Cracken, and enclosed a list of 150
songs, with the names of the persons and places, from whom
I got them. I waited on Dr Lynagh. He was very kind.
He wrote the aupetacription of the letter, and went with
it himself to the post office. 1 agreed with the Dr that
I should order the direction of the answer of my letter to
be in his name, and that my name should not appear on the
outside; and t^at whatever remittance should come would
be safe for me. The Dr then lent me some silver, and gave
me a letter to a priest in Louisborough, ten miles to the
west. I went to Louisborough on Tuesday the 22nd. I
stayed at a public house. On the 23rd, I went three miles
farther west in quest of a schoolmaster. Got three songs
from him. On the 24th I returned to Louisborough, and
heard of a blind piper. I went to a (kncing where I found
him, and appointed to meet him next day at Hugh O'Donnell's
in LonisboTougb. Friday 26th I took down six good songs
from the blind man ; and I never foond any one who had
so great a variety of good old songs, and tuoes, nor any one
who could repeat so correctly. He sings well, and has a
great memory. In short, he woald he more useful to Mr
253
ANNALS OF THE IRISH HARPERS
BoDting than any man in Counaught. However, I could not
stay by him for I was out of moaey, and had to return to
Weatport, where I am running in debt, and getting no sooga.
Lord, how long must I be confined this way ? My credit
will not lost long here. No answer coming. Have all the
posts conspired to stop my letters? I'll post this in
Csatlebar to-morrow morning. Or, is it possible that Mr J.
M'Cracken is not at home, and that there is no one allowed
to open or answer his letters. My dear Mies Mary, I hope
yon will see me relieved out of this hobble ; and direct to
the Rev. Dr Lynagh, Westport, and it will ever oblige, your
bumble servant, Fatbick Ltnch.
. " To MisB Mary M'Ceackbm, Belfast."
"WSBTPOHT, July Id, 1808.
" DEAjt SiH, — I req[ueat you will call upon Mr John
M'Cracken, and let him know that I am uneasy about on
answer to the last two letters I wrote to him, the one on
the 4th of June, and the other on the 2Ist. In the first I
gave account of my progress, and deeired him to remit me
five guineas to the care of the Rev. Dr Lynagh, in Westport
I made some excursions into the country from Westport,
until the 2Iat; and finding no answer, I doubted ^ere
was some miscarriage. I wrote a letter, and enclosed a list
of 150. songs, with the names of the persons from whom
and the places where I got them; and by the advice of
Dr Lyn^h (whom I fonnd to be a worthy gentleman) I
ordered that the answer with the remittance should come
with hia name alone on the superecriptioD. The motive for
this precaution was that £elly, the post-master of this town,
had told several persons that I was soon to be apprehended,
as a suspicious character, on some private mission from
Belfast And this was whispered about from the first week
I came to this town ; and in consequence I found that some
people, from whom I expected to get songs were afraid to
be seen in my company ; and, as I found no answer coming,
I was afraid that my letter had been suppressed. Dt
Lynagh advised me to procure some credentiaui from Belfast,
declaring the meaning and design of my business, approved
254
DIAEY AND LETTERS OF PATRICK LYNCH
sod signed by some well-kaown gentleman. The Dr was
80 kind as to write the saperecription of my letter of the
21st, and to go with it to the post-office himself , and calla
daily for the answer. Dear Sir, if it be that Mr John
M'Cracken is not In town (whiuh I can hardly suppose),
yoa will be so good as to go to his siBter, Miss Mary, and
let her know that it was agreed, before I left Belfast, that
Mr John was to remit me such money as would be necessaiy
on this journey ; and that she may open my letters if they
are come to hand ; and I hope that she will answer the
demand. This delay hinders my business very much, and
renders me very uneasy. I found a blind piper near
Louisborough, about ten miles from this, who had the
greatest variety of Bougs, tunes, and genuine poems, of any
I ever met. I got a few good songs from him, and he hoa
a great many more ; but I could not stay by him for wont
of cosh; T stay here on credit, and am. Sir, your humble
servant, Patrice Ltnch.
"P.S. — I have made good progress — 177 songs.
" To Dr MacDomkell, Linen Hall Street, Belfast."
A few days later he found an opportunity of sending a
letter to Belfast by band, and addressed a second one to
Miss Mary M'Cracken as follows : —
"WiiSTPORT, July dth, 1808.
" The bearer, Mr Bernard O'Byme, is a respectable
shop-keeper in Westport. I find he deals in Belfast If
my letters are come to hand you may trust him with
any commands to me. I wait for relief. I wrote to
your brother on the 4th of June, requesting five guineas
remittance. Got no answer. 1 am detained here wanting
money. On Monday, 2lBt of June, I wrote to Mr John
M'Cracken on the same subject. Got no answer. Saturday,
the 3rd of July I wrote to you. I have got no answer. I
fear there is something wrong. My dear Miss Mary, I
have been very attentive, very zealous, and very diluent in
255
AKNALS OF THE IRISH HABPERS
this bosinesB ; I have near 200 songs ; I have done all I
could ; yet I am detained for want of travelling chaises.
Your brother was to supply me. I hope you have got my
letter. I am in a very uneasy situation. I hope yoo will
excuse this trouble, as I suppose your brother is not at
home, and that you will do something to relieve — Your
humble senrant, Patkick Ltnch.
" To Miss Maey M'Cbacksit."
On Saturday, 3rd July, he was cheered up by a visitor,
and records : " One oaggio of punch at night with Mrs
Fitzgerald." Beferring to the list of songs we find her name
appended to the " Bed Salmon of the Erne," " Murrisk of
the Harbours," and "Young Coolun," all gems of pure
poetry. On 4th July he went to dinner with a Mr
O'Mslley. On Monday, the 5th, there was nothing to tell
of but his two meals, and on Tuesday he seems to have been
in the act of entering " to Break " the word is cut short
in the middle, and there is the joyful announcement " Mr
Bunting came," followed by "settled with Mrs M'Myler.
nineteen quarts, and twenty-one meals, and four-and-fonr-
pence borrowed."
It will be observed that whilst Mr M'Myler recited
poetry about the Day of Judgment, his better half kept the
accounts.
Lynch next notes that he took Mr Bunting off to
"Nora's" (evidently a public-bouse), and Blind Billy was
sent tor. There they remained till Thursday night late,
taking seventeen songs from Blind Billy, which cost six and
sixpence. The expenditure seems to have been all for
refreshments for the company, and in no case is it reported
that singers expected to be paid for their troable. Mr
Barrett of Bellmullet was no exception, he eeenu to have
parted freely with his songs and compositions till his admiring
pupils opened negotiations with Lynch on the delicate
256
DIAUT Am) LETTERS OF PATRICK LYNCH
qnestioD of author's rights. The diarj would now seem to
end ignominionslf with the statement that since last settle-
ment there was a debt for " one breakfast, one dinner, two
qnarta, seven naggins and a glass " ; but after a few blank
pages we come to another piece of narrative, and that the
last From it we see that die; remained nearljr a fortnight
in Westport, and without doubt the time was spent in
rovifiiting or interviewing those whose songs had been
already taken down. Then he records : —
" Thurtday, 22nd Jvly. — Mr Bunting and I left Westport
at twelve, stopped at I*artry, The fields covered with strata
of limestone in form of ndges, some horizontal, and some
with a Utile slope like the waves of the sea. Here and
there some green level walks between tbem, some sheep
feedii^ in these fields, but the rocky or stony parts, I think,
can never be reclaimed. I dined and lodged in the inn in
Ballinrobe with Mr B , sixteen mike from Westport.
" Friday, 2Zrd. — Set off at seven, by the Neale, the seat
of the Browns and Cross, and by the Abbey of Ross to
Headford, twelve miles from Ballinrobe, where I took break-
fast between twelve and one, and to Cahirmorria, where I
tonnd Mr B ."
It would seem that Bunting was driving a light vehicle
of some sort In a letter, quoted previously, describing his
start on a song-colleoting tour, he refers to the rubbing of the
old mare's collar. We may presume that Lynch had not to
tmdge along wearily any longer, but had a seat in the g%,
except when, as in the expedition to the seat of Browns of
die Neale, he made some detour in special quest of a song.
On UiiB last date noted in his diary, he probably took down
the song relating to the trial of one of the Browns for
dnelliog, which will be quoted in the next chapter.
Taming to Banting's music MS. books, we find a long
narrow one which could have been slipped into a pocket.
On the first page is scribbled the word — " Castlebar," and a
267 s
ANNALS OF THE IRISH HAEPERS
note, "Left Belfast 1802, 2ncl"— it mast be though it reads
like 20th July for Connaught The first song taken down is
"Bradan mad na heim&" "The Bed Salmon of Loch
Erne," one of the songs song hy Mrs Fitzgerald for Ljnch
on 3rd July. On another page in faint pencilling is
written, " Paid Mr Lynch 4 gois. and 5. 6. out of my ovn
pocket," And also ^e following : — " Bevd. William Barke,
Parish Priest of Ballinrobe, mention his name to Mr Anty
O'Flaherty, Benville in Connemara, Mr Nice. Bodkin of
Omay in Connemara, Martin O'Mailey recommended to
him by Dr Lynagb." And beneath tiw air of a beantifol
song " Tonng Cusack " is written " Father John Joice in
Galloway." Some items of a washing list are noted. We
thus get a guide as to how the return journey was made.
The travellers came to Qalway, thence to Limerick.
On the back of Patrick Lynch's letter to M'Cntcken
which Bunting carried all the time, is noted the following : —
" 251, Limerick slept 2 evenings. 12, Ejlfarauatullsgh dined
fed H. (evidently the horse). 9, Nenagh slept, 6, Toomvara
breakfasted H. 10, Boscrea dined. 6, Burris in Ossary slept.
7, Mountrath Breakfasted and fed H. 7, Maryborough fed SL
10, Mooaaterevan slept. 11, Bobertstown fed Horse. 6,Sallins.
8 (ill^ble ending in ck 7 Kilcock). 4 Cloondalkin. 4, Dublin
arrived at 8 o'clock."
And beneath is written " 81 Belfast"
There is no word as to Lynch, but it may have been that
he lingered in County Clare to visit his kindred there. Nor
do we find any note of songs taken down after Limerick.
Bunting, however, had musical and learned friends in that
city, others in Dublin, and his brother Anthony in Drogbeda,
and taking this circuitous route could visit them alL So
ended the great Tour in Connaught.
CHAPTER XXni
SONQ WOBDS IK THK BUNTING COLLSCTION
Bdntiko'b first collection published in 1796, and his last
(1840), coDsist of arranged melodies without words. It was
only in coDoection with his 1812 volnme that he attempted
to supply words, and this effort, u already mentioned, was
prompted by the immeDse anccesa of Thomas Moore, in
wedding the old melodies to national songs. The Lynch
tour to Connanght was undertaken bo that the original Irish
should be available for publication and for transIatOTa. The
manascripte include a volnme in which is copied, in one fair
handwriting, the efforts of the translators. The scribe was
doubtless Tom Hughes, who was also employed to take down
Itussel's speech from the dock, and O'Keill's " Autobiography."
Banting seems to have had congiderable literary taste and
acumen, and he recc^ised that the English translations did
not adeqnately represent the spirit of the original Gaelic.
The volume of literal traDslatioBS of Gaelic lyrics is
throughout marked critically, and initialled by him, as
regards what he thinks fine, and we have evideDce here
that he appreciated what was best and most characteristic.
This discernment was, without doubt, inherited from his
O'Quino ancestors.
To give an idea of the character of the large mass of
lyrical poetry in the collection, I shall quote from these
literal traDslations.
Tnrlogh O'CaroIan, harper, composer, and poet, fills a
259
ANNALS OF THE lEISH HARPERS
large place in public estimation. We have it from his
contemporaries, and even from those who were his friends,
that he was not by any means a first-class player on his
instrument His poems do not strike ns either as above
the average, and his fame probably rested on his talent
and originality as a composer. He is credited with a large
nnmber of airs.
He was, moreover, a poet of polite society, most of his
verse being made in honour of patrons, or of fair ladies of
good family in different parts of Ireland. Here is a Qrpical
eulogy : —
"FAKNY POER
" I incline to speak of a aprightlj joang maid
Most noble in mixd and bvely in features,
Who lives in a town on the banks of Longhtea
I would be happ7 to live baid by ber.
"May I not leave the world till I find myself heartily
Dancing sod sporting and I at her wedding,
I would challenge the man that would ask any cowe
(t.e., dowry)
With the yonng pearl of the fsir white hand.
" A stately gay maid of pleasing accomplishments,
A pretty bright gem, heart's delight of all Erin,
Drink a good health and make no delay
To Fanny the Daughter of David,"
And here is how be praises one Dennis O'Connor : —
" His house is full of cheerfulness
Commodious and respectable,
A free welcome for all men
At all times in his Castle.
" Where there is mnsic sweetly played
% the bards it is regulated.
Conversing and dancing with wit and diversion,
and drinking good ale :
In a word, there is enough to serve a whole province."
SONG WORDS IN THE BUNTING COLLECTION
The lightness and brightness of Irish verse carries it off
to the swing of the mosic, but the subject matter is not
interestdng.
Carolao, of course, could do better than this, but he
wrote a great deal of this sort of thing.
Here ia another complimentary poem that baa a story
connected with it.' It is attributed to David Murphy, a
seventeenth century harper, who composed both poem
and air to coociliate a patron. Lord Mayo, whom he had
offended by being too long absent. Arriving on Christmas
eve the harper concealed himself till he had an opportunity
to surprise the lord and his company by pl&ying the superb
air and singing the plea for forgiveness from which I quote
the following : —
" Never more impeach me, oh, bloasom of the noblest blood.
And I swear by all that is to be found on holy cold stonei in Borne,
That I shall not be so long away from you, oh, bnnch of conqoering
heroes,
TiU I go to my grave and the clay is lain on my old blind body
under sod.
"Standard for Irish and English round which tally clergy and laity,
Uay the day not cover your head until it is grey exceedingly,
Receive once more your blind man in frieadship and favour,
And I shall be ronning in your train wiUi the loudest cheer.
" By all the peace offerings that were laid of old in the temple,
By the race of Abraham and by all the tribes.
Not a drop shall I drink of beer, wine or brandy,
Till I get the benediction of my Lord Uayo.
" I shall give bail, both clergy and laity,
And if yon do not believe me I will take the Bible in my band,
That I shall not stay so long away without paying a monthly visit,
If yon will receive me this time with my song and my music."
' QmUo tnditioDsl sing«r« often attribnta the song "Laid Usyo," to
OhoUb, bnt are ia nror ia m doing. The rsfsreDoa to blindnsH Mta them
astray. Tha names of the children of the family give a cine to the date.
261
ANWALS OF THE IRISH HAEPEES
Having quoted St Paul concemiug pardon being
assnnd by trae rapentaoce, be invokes tbe lady of the
honse to plead for bim, and ber children too, "youog
Tiobod Burke, young Susan and the tbree little ones,
Jobn, Betty, and Miss Biddy, the pearl of the golden
hair."
" I un j<mi blind man ntnnung with lore and gratitude,
lliough I have been n^lectful this past jear or two.
For sake of this great feBtival of the only Son of Qod
This IB the Eve of Chrutnus, let strife be stayed, d^ Lord Ifaya"
This song shows as how the attendance of the poeta and
harpers was ^ued by noble families in Ireland, and the
cnstom of affordii^ free hospitality at Christmastide, and
bestowing gifts on literary men and musicians was kept
up among the old Gaelic families and by the old
Irish-English like the Burkes of Mayo. Harper O'Neill's
"Memoir" shows us that the custom continued. He went
to the house of an O'Beilly for eighteen successive
Christmases.
Here is an extraordinarily interesting poem which
illustrates the fact that the medicinal art was hereditary
in certain families : —
" The house of Fergus, that harbour of hospitality,
Hay the branches of that family increase and wear the laotels,
This is the tribe that extirpate every kind of distemper
These are the champions of the quickest dexterity.
In knocking down pains and stitches of every kind,
And have dived down to tbe bottom to the very bed-rock
In the wisdom of those sciencea
" A hundred welcomes home to you and may yon enjoy life and health
Hy friend John, my brave rock of destruction.
Who would not give time to Death to be staring,
To be standing, waiting or turning,
But he would daah himself through the very body
Of that old havoc-maker.
262
SONG WORDS IN THE BUNTING COLLECTION
"There is the princelj Patrick, that lofty, cleTer man,
Hii table ig Bpiod for straagera, and he feeda the weak and hungrj.
His hand is not slaw in attending, all diatressed with aicknesB,
And he is a powerful enem; to deepente disorden.
I am certain my friend Hugh, the sou of Owen, is no slacker,
He is the man who croased the aaa to obtain the arts,
He is the soveteign balm and remedy to raise the dead to life
Provided the Soul did not leave the body entirely.
" The goodly youth Randal, we have now in high estMm,
He is the fine giacefol flower, the choice of the orchard, and pure
heart of com.
It if he that is at home with xa in practice tluongh Erin,
This country would auffer if the noble lion left it.
I am certain, my friends, that these gentlemen are not
The weaker to have the advice of their old tT&cIe Matthew,
His pmyers are good, both morning and evening,
And he has excellent memory, as a gift from heaven."
The hoase of Feif^ here allnded to would appear to
have been a regular hospital with varioas members of the
medical family fulfilling varied offices.
John, who would not give Death time, may have been
the aorgeon who took prompt desperate measures. The
princely Patrick looked after the diet and nursing of
resident patients. Hugh, the sovereign balm, had been to
a college and taken his degrees. The goodly youth Bandal,
like many a doctor's assistant, seems to have gone out to
the patients in their homes, and old Uncle Matthew, who had
stored the wisdom of preceding generations, could give the
benefit of bis experience in consultation.
Here is a rural song, the complaint of a girl who loves
a youth of higher station than her own : —
"There is a quicken tree out in the garden.
That still drops hcmey when I lay my hand on it.
Only Son of Hary and King of Qraces,
Who can blame me that my heart is grieved.
263
AUNAIS OF THE lEISH HAEPEBS
** Wu it not gnat patience I Itad Hob qnuter
To remain alive behind you, oh, m; thoiuand lorei,
And 7001 last promise which jod did not fulfil,
LeSTei me in grief ereiy Sunday evening.
"You are handsome as you stand and your smiles are enticing,
Your two cheeks are as led as a rose in the garden,
Witli your fine flowing hair under a laced hat,
Alas, I am afraid that you are not decreed for me.
"Hy love remains on the side of the mountain
Writing on paper and reading Gaelic,
And when I thought to go to see him
Death struck me on the forehead.
" My love is like the blackberry blossom,
Or like the mots-berry bloesoms on a bright day of sun.
And as the blossoms of the blue-berry on the mountain-aide,
And then has often been a fair body under a black bead.
"Treamira of my breast you would not ask anything witb me
{*.«. no dowry)
But for the false people, who were always putting between ua,
And my blessing attend your fine flowing locks
And we shall be nuuried yet, and no thanks to them."
Here is a poem that tells the story of a forcible abdaction.
The event would seem to have occurred near a sea bordering
country, probably in the O'Brien country of Clare.
" Mairsil (Marcella) ni Brian, maid of the lovely hair.
Who has distressed one half of Ireland,
Don't suffer me to be punished by any one because of you
As God has given you a virtuous mind.
"It would delight me more to see yon apf
Than a light on the height to guide the n
I protest to the Lord that with grief after yon
The heart in my left aide is failing.
" We brought her along without hurting or harming her,
Across the moors and the mountains,
Until sleep overcame us and we sat down to rest
And she was taken from as by superior force.
264
SONG WOBDS IN THE BUNTING COLLECTION
" I lie lien confined on a n&rrow bed in ptin,
Nor eon I sleep any part of the night,
BdC toosing in torments like stortnf winds
Which sickena and confoaeB my sensea.
" My pnie delicate bright babe of the heavy curling locki^
If I don't get mf desire fulfilled of you soon
I shall atand up in the fair and I swear I Bhall cut
And mangle their flesh with edge of the nrord.
" How she is far from me in the Island of Saints
I think every week as long as a month or a quarter.
Te winds convej the blessing of my heart
To the damsel of the beautiful treasea.
"0 yon Sea of the King that separates her and me,
Tell my love how I am,
That these pangs have undone me and wounded my heart,
And &t,t the wind has cast my boat away."
The abductor does not seem to be in prison, bat lying in
hiding from pursoit and nnable to follow the fair one acroea
the seas. He hopes he has made some impression on her,
and wooes her in impassioned verse while still threatening
Tiolenca She baa been token awaj for safety to an island,
possibly to Aran of the Saints.
Elopements of this forcible character suggest duelling.
Here is how a poet of Connanght mourned in ezs^erated
diction for the absence of a gentleman, John Brown of the
Keale, who had killed his man in a duel, and was forced
to stand a trial in Dublin, It reminds ns of the norsery
rhyme in which "all the birds of the air fell a sighing
and sobbing."
" The eagle declared that he would not visit Uie place
And that he would remain in the lonely glens,
The swan on the cooat was as black aa a coal
And her feathera hanging down drooping
" ^e cuckoo cries, ' Uch I Ucb 1 ' and ahe ahivering with cold,
And says, ' I know not what time I shall aing.
Alas, to my grief I I cannot see John Brown
Till I woidd play for him the sommer trumpet.'
266
ANNALS OF THE miSH HARPERS
"Ths stag and the doe are in grief on the moimtam,
Gazing from on high toward Dublin ;
Young children become gnT« like gray old men,
And botJi birds and fishes have changed their fonn.
" The fmita are declined, nor is there any dew on the pl&in ;
There's neither com, gras^ nor flower as nsnoL
The becfl hare ceased to look for honey with grief,
And if John Brown is lost they will die."
It wu worth while to be a Connaaght landlord in those
days. The firmameiit above and creatures o( the great deep
were concerned about the trial at the High Conrta :
"The moon and the eon ore slow in their coones.
And they hare lost the two-thirds of their brightness ;
The porpoise, the sail, the sea-hog, and the whale
Hare lost Uieir qnick motion on sea."
Bnt good news comes of the acquittal, and the lugabiioos
poem ends merrily:
" It ia often that mists and dark clondy skies
Pass away without any storm.
We shall hare sport in the Neal from this till Doomsday,
The like has not been seen nor shall be hereafter.
" Liqnor and wine in the middle of the rood,
Powder abnming and shooting like thunder.
The health of John Brown is drunk by everyone,
Here he ia home alire, Deo gratiat."
All's well that ends well. John Brown might have been
hanged like that famous fire-eater, George Robert FitzGierald,
nephew of the volunteer Bishop of Derry. This moomii^
of nature is in the style of the old bards. We have the
same affectation in another Connaught Elegy for one Barbara
Rontledge :
" The cuckoo who sang so sweetly is nnder a cloud in the glen,
SincA the protectress of strangerB is dead who gave shelter and
support to poor wandeiera."
266
SONG WORDS IN THE BUNTING COLLECTION
Another verse, following still the old fashion, weaves the
date of Barbara's death into its rhymeB, so that we know
she died at the time of the great war of Ireland, when
there would be many poor wanderers in the wilds of
Cosnaught :
"Sixteen hundred years, as we read in black and white,
Fortj more cornea after and nine exactly added
From the birth of onr Lord, who paid for the aina of Adam,
Until Barbara Soatledge was taken from oa and atretched in a
wooden cx^Sa."
A pathetic toach relieves the drj formality of the verse,
when her orphan children are counted :
" Haj the prot«cti<Hi of the Heavenly King defend the Uiree children
she left behind,
Thmnas, Fnmk, and the fair flower, the sweet, gentle Barban I
Uay they flooriah and increaae in estates and free lands.
And the nurse and those that guard them, may theii cba^ pnsper."
With the Cromwelliao Settlement coming on Conoangfat
in a few short years, it is to be feared prosperity was
not for these orphans, who were evidently without a
father.
There is a great deal of talk abont courting and hiding
in woods and mountains, where the priests will not know
of it, and also mockery of marriage in some of the songs.
If these were aung widely, and represented the thoughts of
any class of people except dissipated vagrants, a great
change has come over Ireland since then. I expect a lot
of these soi^s have gone out of oae because of the
nature of the words. One wooer in a well-known song
Bays: —
" I think it is a very foolish thing to use a finger ring for binding
Or to go to a fair to be settling Uie match, and wanting cows with a
fine young girL
2(7
ANNALS OF THE IRISH HAIIPEBS
I liATe a wif« in CaBhel, b EillaU, and in Tium, and a wife bejond
in B4lljn&lune]i,
I hAV6 a iKfe in erei; town I go to, and the wife that does not
please me I let her gx"
I find among Lynoh's gathering a song called " Plearaca
Gbaon-na Mara," the complaint of a man who married and
repented. It commences thuB : —
" He is to blame who would choose or desire to hare an j wife in the
At All Baints last year I had a good coat, and my hat was tha best in
Uie country ;
Ify niider coat was neither worn nor scnfTed ;
A bondkercbief I bad on my neck which I bought in Coik,
I suppose it oost me a crown ;
My shirt was quite fine, and the dearest stnff
That has been woven in Sligo in my time —
Not to mention my gloves that were made
Of very good Spanish leather ;
I had a store of tobacco of the best flavour
That ever grew in tbe land of Ireland ; '
If you would see my gaitera, it was tbey that were gaudy,
Baboru, but marriage is pretty ! "
Since he married he goes undamed and unpatched, and
every penny ia needed for rent, prieata' dues, or house-
furnishing. Amongst the necessaries he mentions the
following spinnii^; reqoisites: —
" A dove, a hackle, wool shears and cards,
A woollen wheel, with a shrew at the end
WiUi ears of stzaw and broaches."
Lynch collected versions of a great many of tbe songs that
are in Douglas Hyde's Zove Songs of Conruukt.
Brief reference must now he made to others who aided
Bunting in his work of collecting.
After all that I have quoted from Et^ne O'Cnny on
' Not* that at this wa tvbsooo was home-gnwu.
268
SONG WORDS IN THE BUNTING COLLECTION
the enbject of the Irish h&rp, and in criticism of the articlee
prefacing the 1840 volnme, it is interesting to coma on a
sheet of paper pinned into one of the MS. books beariog
the signature of that famous scholar. He gives a verae of
a song in Irish, with a translation. The Irish is in Roman
character, and may be reprodnced : —
" Eider Vbad an chaUwih is futhche Ohill Diomo
Haidinbliag aoibldiui Ummll roimli U,
Do dheaicu an aindir, aas cuma ea mbion si
Acht gnr chrioth naigh ma chroidhe le vaitb Deamb da pairt.
Do bbi guma braac, uirtbe, falsing ia BoitndiJeirt
Don fhainoD bbreagh ghalldas ta aiioia aige nmaibb
Bbi Hood, ogns Hata, uirtbe, Bca: i'a Pendoiodie
Is cnota na eeann go bumiceach ard."
which, being interpreted, is : —
" Betveen tbe Feny-boat and the grean of Kildimoy
A soft bappy momiiig awhUe before daj,
I espied the fair damael, no matter where ibe lives.
But that my heart for her friendship did tremble and ache.
She had on a speckled gown, a mantle and round skirt
Of the fine English fashion, which women now hare ;
A bood and a hat, with a box and pendowdle.
And a knot in her forehead high pending in air."
Added are notes to the effect that he is uncertain of the
words "round skirt" and "box" having been in tba song,
and that the ferrj-boat and Eoldimo are both on the bank
of the Shannon below Adare, Limerick side.
The signature is "R Curry," but we feel certain that the
handwriting is that of the famous Eugene by comparison
with a MS. copied for Sir Samuel Ferguson,' in which he
signs also without the 0. O'Curry spent his boyhood on
tin Clare side of the Shannon, and this song of the Ferry
would be easily borne over to him.
It may here be mentioned that O'Ourry had experience
1 This MS. wM Mnt by Sir 8. Ttrgnson'a bnther-in-lsw to an exhiUtlOB
in Belfut on the oecaiion of tha potf ■ oentanai;, Haich 1810.
269
ANNAIS OF THE IRISH HAHPEBS
of takiiig down the Iriah vords of Folk Songs, and that hia
MSS. made for Petrie were, like those of the LjDch-BiintiDg
coUection, laid aside and never osed, whilst the melodies
alone were given to the world.
Lord Adare, afterwards &rst Lord Dunraven, and a
distinguished antiquar;, was amongst those who congratu-
lated BnntiDg on the appearance of his 1840 volume in
the following letter: —
"Sib, — ^Tho' personally unknown to yon, as I am a lover
of Irish music, will yon allow me to say how grateful I was
at the appearance of your volume of ArtcietU Irish Sfiuie,
and how I hope you will give to the world the remaining
part of your collection. I take the liberty of enclosing four
airs, copied for me by Miss Mansell of Dunboe. If you
have not got them already, perhaps yoa would like to
insert them, for which purpose I send them ; if they form
part of your present coUection, or that they are not
serviceable to your purpose, please to return them. In
case you make use of any of them, they had better be
inserted as given by Miss Mansell.
"Tou have, of course, got Shule Agiah. — ^AUow me to
remain, yours faithfully, AsABZ."
I do not find any trace of these songs, so they were
possibly returned, but a copy of the Jacobite air, "The
Blackbird," is fastened to the following letter: —
" Sib, — ^I take the liberty of enclosing another air from
Miss Mansell, in addition to three I forwarded before through
Dr Todd, and which I hope yon received ; it may not be
in your coUeotdon. — I remain, your obedient servant,
"Adabb."
Br Todd here referred to was the translator of "The
Wars of the Gaedhil and the Gall," relating the authentic
narrative of the death of King Brian Borou at Clontarf.
Miss Mansell was a member of a well-known County
270
SONG WOKDS IN THE BUNTING COLLECTION
Limerick family noted for musical taste. In fact a Miss
Mansell of an earlier generation eloped in 1766 with an
Italian singer, Signor Tendacci
A faded slip of MS. mosic has two lines of a melody
with Uiese words : —
" Och t iJiB thonglita of mj mother do cauw me to weep,
Oh, where ahAll I winder when she u uleep ;
She tenderly nouruhed me, clothed snd fed :
All jof u over since ihe is dekd."
On the reverse is written :
" From Mary Brett to her dear Master, Mr Bunting, as a
small token of her sincere gratitude for all his kindness to her.
" Chablbvilijc, Stpt lIUs 1819."
CharleTille here is not the well-known town in County
Cork, but was the name of the family residence in Brett's
Glen, near Belfast'
The song of Ballindeny has been made familiar in the
version of words by Mr Alfred Perceval Graves. The air was
published by Bunting in his 1812 volume as "Gronan na
n'Baun."
On a loose sheet of paper among the MSS. we find the
original country version of English words known in the
district around Loch Neagh:
" It's pretty to be in Ballimderry,
If s pntty to be in Aghklee ;
But ift prettier to b« in little Sam^ Island
Sitting nndet an ivy tree.
"Oh, that I was in little Bam'a Island,
Oh, that I was with Phelimy Diamond ;
He would whistle and I would sing
Till we would make the whole ialsiid ring.
Och One 1 Ochone t
Och One I Ochone ! "
> Bir ObuUi Biett, Vioe-PrMiduit of tk« Bslhst PbilbanMnio Sodety,
Infonna dm that htrptn war* acenstomad t« fnqnant OharlaTille in the
eld days, and wen reotiTed «n Jttt.
271
AKNAIS OF THE IRISH HAEPERS
AdditaoDBl staozas are given as sung b; Mr Mitchell.
The following ie eTidently by some one who liked the
tune, bat not the sentiment of the original :
" It's prett; to be in Ballmden;,
It'a pretty to be at the Gaah of Toome ;
Bnt it'a prettier to be in aweet Fortglenone,
Prinking vbidcey-punch in the Lodge-room."
Next two specimen veiBes are given of the style ot words
thst were adapted to this popular air by parties of coantry
people, who were accnstomed to come down to the baoha
of the River Bann, and from opposite sides of the water
taunted and hailed each other in song:
" Hake my reapecte to that young man
That bu got on the coat of gT«en.
Aflk him, does be remember the day
When the wind did blow my hat in the Bann I
Um-m-m-m."
(A humming chorus followed here, instead of the too
moomfal "Ochone," then another verse.)
" Make my respects to that young man
That has gat on the coat (rf brown ;
It WHS not the coat I valued a farthing,
But for the ribband my true love put on.
Um-m-m-m,"
and BO on, no doubt in salutation to young men with every
colour of coat. A MS. note says, " Ask Mrs Hill Wilson
to show how the humming was done."
I cannot say whether this custom of singing across the
river still prevails along the Bann shore. The song would
have to be different in these days, when nearly all young
men wear coats of the same colour. The fact that it is
called a Gronan is of interest, as the humming of a bass
to a melody is one of the lost arts of Irish music.
272
CHAPTER XXIV
LinXBS 7B0H DB JAHIS HACDOHNKLL — 1836<1840
So much has been said of Br MacDonnell in connection with
the preservation of Irish music and the revival of the harp,
that it might be snppoeed he was a man of leisure who bad
ceased to practise medicine and devoted himself to the
pursuit of private hobbies.
In justice to the Doctor we will preface his letters by
the following testimony from a high authority : — Sir William
Wbitla, M.D., in delivering bis presidential address to the
British Medical Association, meeting at Belfast in the
Bummer of 1909, paid the following tribute to the memory
of Df James MacDonnelL Having sketched the rise of tJie
Belfast Medical School up to the year 1826, when a course
of clinical lectures was instituted, he goes on to say: —
" The first theatre lecture of the systematic course was
delivered by Dr James MacDonnell, a very remarkable man
an intellectual giant in his day — whose name is associated—
with every movement for the advancement of medical
education and for the relief of suffering. If any one name
is to be singled out from amongst the founders of the
Belfast Medical School, as we look backwards at the present
momentous stage of oar progress, it mast be that of
MacDonnell. To him we owe the origin of the first hospital
established in Ireland for the treatment of fevers, and to
him is due the honour of fonuding the Belfast Dispensary,
Malcolm relates how that in times of the greatest apathy
towards this his favourite project, when almost unassisted
273 B
ANNALS OF THE IRISH HAKPERS
by &n eocoaraging hand he continaed to tend and watch
over it with fostering care and unabated interest until it
had reached a vigorooa matarity. He was the leading
spirit in the campaign that called into existence the Belfast
General Hospital. He was also founder of the Natural
History Museum still standing in Collie Square, and still
doing duty as our only scientific muBenm for the edncaUon
in natural history of the people of the city. In the midst of
his arduous labours in the interest of humanity MacDonnell
found time for the pursuit of original research, and con-
tributed valuable additions to our knowledge upon the
mechanism of the circulation. His work upon the varia-
tions in the pulse under diverse physical conditions and
alterations in the body posture shows the remarkable
originality of a mind, capable at the same time of patiently
accumulating enormous numbers of observations and rightly
interpreting their physiological and clinical importance.
Bom in the Glens of Antrim in 1762, MacDonnell graduated
in Edinburgh in 1784 and lived till 1845."
We may add that a fine marble bust of the Doctor is
in tiie collection of the Natural History and PhUoaophical
Society's Museum, of which he was one of the originators.
The bust ia by Christopher Moore, the sculptor, responsible
for the unsatisfactory statue of Thomas Moore, which
stands at the Brunswick Street side of Trinity College,
Dublin.
The letters from Dr MacDonnell to Bunting, so far aa
they have been preserved for us, commence with the follow-
ing, written at a time when Bunting long resident in DubUn
was supposed to have abandoned the idea of further
publication : —
"BauABT Oct. Kfk, '36.
" Deab BUBTlNa, — You will not recollect my hand-writing,
but I wish to bring to your recollection a subject we were
speaking of when you were last here. It was about some
songs or dii^^es, composed for Sir Alexander MacDonnell who
274
Uk JAMES MAcDOKNKt.L. : . ,
a fkologtafA „j a iuil mou in lit Humitifal An CuIUuU>h, BcI/uH.)
LETTERS FROM DR JAMES MACDONNELL
was assasainated in the soatb of Ireland when a prisoner "bj a
partisan of Cromwell'B. He was my Great-great-grandfather,
and the son of Coll Kittc^h.> I mention these things to
induce yon to find those tunes, and to send them to me if
yon can get them. I heard that some of them were printed,
and I think you told me that you had gotten Bome of them,
which you had arranged and harmonised.
"When you puhlish your mnaic, which I now never expect
to see, as I am so old and yon so indolent, be sure to print
some commentary upon the tunes, stating all the coigectures
that you can form about them, and this desire which I feel
of preseirisg some record of what I call the ' Literary
History of Music,' which seems never to have been done
with any care in any country, reminds me that I once lent
you a volume of Hawken's ' History of Music ' — if it be lost
dcm't mind it, but if yon can find it, give it to my son John,
or to my son Alexander, whom you kuow best, or your
obliged friend, Jas. MacDohmkll."
Alastair MacCoU MacDonnell (EvgliA, AUxander),
referred to above, was leader of the Irish contingent in
Montrose's rising. After the fall of Montrose, he returned
to Ireland and got a command in Munster on the royalist
side under Lord Taafe. The latter was opposed by Lord
Inchiquin on behalf of the Parliament, The armies met at
GnocnanoBS between Mallow and Kanturk. Alexander
commanded three thousand foot and two regiments of horse.
The battle b^;an by MacDonnell ordering a chaise of cavalry,
which shook Inchiquin's left wing and succeeded by advance
of MacDonnell's foot regiments. Inchiquin's army retired
to the gates of Mallow, Inchiquin's right wing was more
snccesBful in opposing Taafe's left. MacDonnell is said to
have retired to a hill to reconnoitre, and was surrounded
and captured on the promise of quarter from a Comet
O'Grady. An officer in Sir John Clotworthy's regiment,
who preserved a contemporary account of the war, writes,
■ Oell Kitta^ mNuu " left-buidid Coll."
275
ANNALS OP THE IRISH HAEPERS
after describing MacDonaell'a capture on the promise of
qnarter:
"At which time comes up one M^or Pardon after
baronetted and demanded the Comet who it was he gave
quarters ta On which he told him ; on which Pardon wae
in a fur; and shot MacDonnell in the head being the other's
prisoner, and so MacDonnell was lost. In revenge of which
the Cornet for seven yeare fought Pardon every year bat
most commonly got the worse which the more was the
pity. . . . The loss of thia field was much attributed to the
want of ready conduct, and those on the right hand did
not fight so vigorously as MacDonnell did on the left hand ;
but it was his Destiny to be so lost after these many fights
and dangers he was in, in the wars of Scotland, being oa
stout and strong a man as ever carried a broad sword and
targett of late days, and bo vigorous is fight that had his
conduct been equivalent to his valour, he had been one of
the best generals in Europe. Cnocnanos was fought 13t^
November, 1647."
The following letter accompanied the one regarding the
the character of Arthur O'Neill, which we gave as an
introduction to the " Memoir." Alexander, the doctor's son,
held a position under the National Education Board, and
wrote from a government office:
"Castlk, Not. l&th '3a
" My deas Mb Bdmtimg, — I have great pleasure in send-
ing you the accompanying letter from my dear Father. On
the day when it was written he was suffering under one of
the worst attacks he has had, so much so that my Mother
was much alarmed. His mind, however, was you will see
as full of serenity, kindness, and intelligence, as if be was
enjoying perfect health. — Believe me, sincerely yours,
"Alexandeb MaoDokhell.
"PJ3. — I should have called with this letter, but must
leave town to-morrow for Belfast."
276
LETTERS FROM DR JAMES MACDONNELL
The next letter from the Doctor shows with what interest
and enthaeiaam he hailed the news of Bunting's pn^ress
with his last volome, and heard of his continaed interest in
the attempts to preserve the harp.
"Bkltut, Sqit. lOtt 183S.
"DxAK BUBTIKG, — Yon will scarcely believe how much
the receipt of jour letter has raised my spirits, 'tis the hest
cordial I got since I saw you, and I now think the publica-
tion of this volume may be the means of yet reviving this
Society ,1 for as Rainey ' was better than O'Neill, and as there
was yet two persons nearly as good as Rainey, besides the
Master, why need one despair that others might not succeed 1
Mr Price is the gentleman, at present, fondest of the
instniment He gave my little harper, Fat Mumey, a guinea
the other day, and has sent for him again, where I have
consigned him to Captain King and the ladies, who are all
taken with him, and although you took so little notice of him,
I predict that he will do. Don't omit mentioning Rainey in
your Preface, as having been a nephew of Robert Burns, the
Scotch poet. I have a lung letter yet to write to you
about the music, and then I have done with that subject.
I hope Ferguson' is recovering. Do not be hufTed with
Donovan or Petrie,* they could both be useful to you, and
both must be naturally fond of the object.
"I enclose two stripes of paper written in your hand,
which I found since you left here. They relate to the
Highland blind woman's song of ' Dardrae ' which she eung so
often to my dear friend, the old Marchioness of Londonderry.
You took it down, and 1 beg the favour of you to write it
over again, and return it to me as a keepsake explaining the
matter, as a curiosity, and proving it to be the same with
what you got at Murlogh.* I don't think you lay sufficient
I Bflfen to tfa« B«lfut Hmrp Sociat;.
* Btini; taught h»rp »ftar O'Neill'i ratiramant.
' SbdiubI FBrguton who raviiad the " llMnoin of tha Earpan."
* Both iMruad uitiqDKrian*, and oollocton of folk.aongB,
* Hnrlogh, near Fair-haad, Coaut; Antrim, whare the Dootol bad a
oetuitij hooM.
277
ANNAI5 OF THE IRISH HARPERS
stress upon this curious co-incidence I wish joti. to compare
' Col Kittagh's March,' not the one called after ' Oileatnun '
in Croker's book, but the ' Father's March ' which has been
printed in Scotland. J. MacDonnkll"
In the year 1839, when his book was on the verge of
pablicatioQ, Bunting visited Belfast, several little notes from
the doctor were sent to him by hand, showing us that he was
reading the maniucript before publication. The first refers
to Arthur O'Neill's "Memoir."
" DtAK BuHTiNa, — Ferguson said he would drink tea with
ns to-night at eight o'clock if he could, but he was not sore
of coming, he had not got the second proof — I think it
essential to cultivate this man — I have read 69 pages of the
' Memoir,' which has greatly the air of truth — come to us if
you can, and bring the ladies with yoa, if they have nothing
else in view, to your obliged J. MagDonnsll.
"Du.B BcMTiNG. — Send me more to read and come soon,
I talked with Finerty last night, and showed him most of
the Greek terms, one of which only has any acuity with the
Iriah, so that there is little chance of finding any genealogy
for ours unless in the Hebrew, Chaldaic, Syriac, Arabic, or
Sanscrit languages, all of which particularly the last should
be searched for their affinities, do not fail to do this in
Dublin. Come to me when idle. — Believe me, yours
sincerely, J, MlcDonhell."
Finerty was the Belfast Gaelic teacher at that period,
who was evidently consulted concerning Irish spelling.
" Deab BuHTUJG, — When you quote from Moore or any
one else retain their orthc^raphy of Irish words, names,
people or tnnes ; but in writing the names yourself be very
careful in spelling the words, so as not to leave them to
be guessed at. Thus at the end of p^e 35 ' Ul a Cando
wo,' I heard always sounded ' Ooligan dooh oh.' I know
not the meaning of the word ' Ool^n,' it seems an
278
LETTEBS FBOM DR JABfES MACDOKliELL
expression of endearment The word sonnded 'Dooh' is
written 'Dnbh.' I have had great pleasure in reading
this mannBoript"
The following has no commeDcement or address : —
" I am very mnch obliged and pleased with your account
of the audible sounds per second. Be aare to explain fully
yonr own ideas as a moaician and a philosphical reasoning
man about the whole subject, and endeavour to show how
it happens that other musicians, altbongh expert and learned
in their art never are able to play a Scotch or Irish air with
any effect by any mods yet discovered of committing them
to writing. Just as we see that no person can speak any
living language merely by book knowledge, I never heard
an Irish air played properly by a person who did not hear
it played or snng by an Irish person, or by one like yoa
taught in that manner.' J. MacDomnill."
"To Edwaed Bdnting, Esq.,
" Mr M'Cracken's, Donegall Street
"Deab Bdntino, — I return both the letter and this print
It is a great matter to have enlisted such a person * as this
in yoar favour, for although she be so perfectly heterodox
in politics that I can conceive nothing more perverted and
dangerous, yet the warmth of her heart and her love for
some things in Ireland might be turned to advantage if she
could be prevented from her vile orange railing. Send me
word how your daughter is, and send me more to read. — And
believe me, ever yours, J. Ma.cD."
" StM^oy mght.
"DiAB Bdntiho,— I wrote yesterday to my son about
the Dedication. Tou should do nothing until you have
completed the explanation — be sure to amplify it so that
' Tilt Doctor voQld huT* fironred the "Direct Uathod" at t—ching
luigiugM, uid tliB itndj of traditianal imging now idTOoaUd by th« Qial
iMtgne.
* The print rersrred to WM ft portndt of the Udy kaovn u ChuIotU
Elinbetfa, aathor of ■ popnler novel " The Siege of Den;," uid of rarioiu
OTMiga bftllade. She bed, howeTer, > taste for Irlah miude.
279
ANNAI£ OF THE LRISH HAEPERS
every one could nDderstand it I aee from the Greek namsB
of the notes and their positions upon a monochord that any
lady can understand their canon of an 'immutable and
mutable system.'
" Mrs Garner is to be at Mr Pratt's to-morrow, where
I hope yon will eit beside her at dinner and direct your
conversation to her favourite subjects.
"The English word 'Sase' and the Italian 'Basso' are
evidently of Greek origin. The lowest note or sound od
any string would be ' Proslambanomenos,' let the monochord
be long or short — and the octaves to this whole string,
counting from above downwards, or from below upwards,
is always called 'Mese,' from which our word medium or
middle is derived, and this is the note which the harpers
speaking English called ' Sisters,' but that word ' Havlat '
is not in vulgar language convertible literally into the
word ' Sister,' which the Scotch express by ' Derfur.'
" Make Finerty examine all the Greek and Latin words
Eon the monochord, and get some one to find out the
ibrew, Arabic, Persian, and German, but above all the
Sanscrit words to discover whether the Irish terms which
you have got can be turned into any Oriental language.
Dublin the place finally for this, and yours will be the
first attempt to explore it One thing appears plain that
the further back we could go in any country the nearer
will the scope of the tune, the number of notes come
to the scope of the notes which the natural voice can
express, viz., if any tune has a greater compass than this
it must be instrumental, no doubt the first instmments
were fifes, flutes and pipes, then comes the lyre and the
Jewish instruments. If there are any old Irish tunes that
have a greater range than the pipes, flute, and human
voice they probably belong to the harp, and this will be
almost certun if they want the semi-tones that you have
always mentioned. I do not think the Irish had a violin,
because their word for that instrument is ' Fiol ' or ' Phial,'
which is nothing but a corruption of the English ' Fiddle.'
"You mentioned often the word 'glass.' I thought
it meant to tune or to put in tune, but I recollect since
that it also means a lock, or to lock.
LETTERS FROM DR JAMES MACDONNELL
"Spend a good deal of time with Finerty, and make
notes ot aoytbing that is dahioas, in order to have a final
correction in Dublin, where there is a Professor of Sanscrit
with whom you should certainly coDTerse.
"Ae languages become more numerous, and the inter-
course between nations increase, then the peculiarities of
each language diminish and almost disappear, as was in
the 'Lingua franca,' so as musical instruments increase in
number, the peculiarities of national airs will cettainly
decrease until at length they vrill all be confounded, so
that no human being can trace each to its native seat,
and the same is true of religions as they increase they
will be apt to blend with each other.
" Fanning's barp had thirty-tive strings, fourteen below and
nineteen above the ' Sisters ' — the eleven upper strings of iron
wire. Mr Shannon, an Organist, I believe at Bandalstown
(when there was no Organ at Belfast) constructed a gamut
for Fanning's harp.
" Black's had eleven below and twenty-one above 'Sistere'
it had three circular, divided openings in the belly, resembling
a guitar — the pinboard was warped, which did not impair its
tone.
" Rose Mooney's had thirteen strings below and eighteen
above the ' SisteiB.' A piece of timber of triangular shape
(the angle truncated) was placed within the belly of the
harp, through which the strings passed, being fixed by
transverse pegs of wood, like quiUs of the Welsh barp
differed in this respect, and there was of consequence a
greater facility in replacing a string. The belly of Mooney's
harp was split and cracked upon one aide where it was
covered with canvas, or pasteboard beneath yet it was
light, Bonoroua, and much superior to Quin's harp. Its body
was composed of three pieces of timber. There were four strips
of copper placed transversely, and one strip longitudinally, to
strengthen the timber. The transverse strips were closer as
you ascended to the treble, where the tension of the strings
or purchase is greatest. The obliquity of the short strings is
greatest, and the management of this is a principal difficulty
in the mechanical construction of the instrument.
"With a view to discover the theory of the curve in the
281
ANNALS OF THE IRISH HARPERS
pinboard, I had all the harps measared carefnll;, preparatory
to engraving them upon a scale, but tbeae notes are lost bj
Mr John MolhoIlaDd, who took them tci London, I had no
dnplicate."
ThiB letter ia unsigned, and addressed simply—-" Edward
Bunting, Esq.," as if sent by hand, so he was evidently
still in Belfast, and the doctor, either ill or too busy to
call on him, seat notes with every book or manuscript be
returned.
Here is a letter from the Mrs Gamer referred to : —
" My dkab Doctob,— I have scribbled out three little airs,
which I would be very glad if you could procure Mr Bunting's
opinion of — I mean as to what the country they belong to, or
if they bear any distinct national character. I am on my way
to Furdysbum, to remain for a couple of days, but hope
to see yon on my return on Thursday, as I have procured a
mora manageable hoise. I am deeply interested on the
subject of Music as connected with Sound, for I never heard
anything that gave me the least philosophical satisfaction on
the subject yet ; the nearest to it was that you threw out the
other night, about the measure of lines of Poetry being
r^ulated by the human respiration, but that does not,
as far as I see, apply to sound in general. — Ever your
gratefully attached friend, MabuK GaJiheb.
" Tuetday."
" E. Bdhtikg, Esq., Donegall St.
"Mr DEAR BuKTiHQ, — If you have not packed up your
movables, let me read Lynch's journal^ — bnt if it be packed
up don't bother yourself — it is possible, if I had read over all
the papers along with you more deliberately, that I could
have made some other remarks, but at any rate, I am very
glad I saw them, and that I observe your wife, so competent
to assist you in a matter of such momenL* — I am, dear
Banting, ever youra, J. MacD."
> Thlt u the diuy which upabtished for th« fiiat time ia thii rolnms.
* Bnntiiig't wire prep»r»d and copied >11 bia moiia for pnblie&tiaii. (jSh
hia ftUiuion to her ia his latUn to Uuj H'OnckeD.)
282
LBTIEBS FROM DR JAMES MACDONNELL
Tbe next letter shows him busy in trying to secure
the Queen's consent to have Bunting's volume dedicated
to her. "Tbe Tournament," was the famous one organised
by Lord E^linton.
"DiAB BuNTlHQ. — What I suspected turned out to be
the case— the letter I wrote to Lord Belfast did not go until
my son returned from London, and as there has been since a
sutBcient lapse of time and no answer, I must either write
again or abandon that method of triaL Perhaps it will
be most prudent to wait until the Queen returns from the
tournament — after which if you call on my son he will
converse freely with you, and consider the best mode of
proceeding. You may direct me. I do not like any delay
and hope yon an making a daily progress in the printing.
I wish much to see every sheet before it be printed off,
and my son would forward it to me— I wish now to get
the remainder of the Prospectus.
"If you have hit upon any distinct rules for guiding
musical criticism so as to enable one to discover what
constitutes identity, or individuality in an air, and then to
determine of two airs known to be of a common root or
origin which was the or^ual ; and finally be able to class
airs according to their native countries, and I do think if
you achieve these or any of them you will deserve much
5 raise. Don't cease to endeavour after it. When you have
eveloped the principle, I beg yon may send me an extended
account of it, such as a person like me can comprehend. I
can scarcely think that any two persons ever fell by mere
accident upon the same identical air, so that with respect
to each author it might be an original — this can't be — no
two persons could hit on the same stanza of poetry — they
might hit on tbe same thought, but will never express any
tram of thoughts in the selfsame manner without borrowing,
and yet people may imitate and borrow without recollecting
from whence. Although one may acquire internal evidence
from the analysis of an air, or a poem that <me has borrowed
from another, how are we to proceed in discovering the
Borrower from the Lender? I hope you will examine
ANNAIS OF THE IRISH HARPERS
'Bomper Squire Jones' rigorously with a view to this
beautiful qneation. Supposing it to have been stolen by
Carolan from an English tone called 'The Rummer' first
having found nearly the date of Garolan's tone, composed
for the Great-Grandfather of the present proprietor of the
Money-G-Iaaa estate, uick-n&med 'Bumper,' the oompanioD
and Deighbonr of Charles O'Neill (mentioned in your
MS. Memoir, and Grand - Uncle to the present Lord
O'Neill) this will make the tune above a century old.
Now the word ' Rummer ' does not look like an old word.
' Roemer ' in Dutch ia a drinking glaaa, ram is not an old
liquor.
" None of the Irish people, musicians or not, ever heard
a doubt expressed of the originality of the air, nor was a
man of such high inventive power as Carolan, likely to think
of borrowii^; nor was a community like this at that period,
in which music was more practised than at present, nor a
family bo patrician as Jones's likely to be imposed upon in
this manner and to remain undeceived for a hundred years,
during which, the tnne was not merely propagated, but
printed, and its words, both in Irish and Engli^, circulated
over all Ireland. Moreover Carolan was never known or
suspected of any other plagiarism, he indeed, imitated
something from Corelli, but he did so avowedly aa an amuse-
ment I have more doubts about 'Loughaber' because
this tune while I was in Scotland was never saspected
of being Irish, if it be so, it must have gone over
to Scotland very early, aa the poems of Ossian almost
assuredly did. Whether the Highlanders and Irish have
music as well as poetry, truly Ossianic, I know not — I am,
Dear Bunting, sLucerely yours, J. MacDonhkll."
Edward Bunting as a collector and musician was a
much better judge of Carolan's genius as a composer, and he
was quite justified in saying that Carolan's music was not
BO Irish in construction as many of the other harper& It is
now quite certain that Carolan set words to many of the
old Irish airs, and in time the airs were supposed to be his,
for instance " the Hawk of Ballyshannou " was set to
284
LETTEBS FROM DB JAMES MACDONNELL
Carolan'B woids and in time was named "O'More's Fair
Daughter " from the ballad of that name set to the air by
Carolan. Dr MacDonnell also mentions "Loughaber" as
being of Scottish origin. The " Memoirs of the Harpers "
by O'Neill settles this point.
Lord Belfast wrote on the subject of the dedication.
" BUZTOH, S>pL
" Mt dear Doctor, — I have not replied to yonr letter
earlier, having been in hopes of sending Mr Bunting the
Queen's sanction to dedicate his Work to Her Majesty, every
post
" I finished a letter, to Her Majesty making the request,
as soon as I received yours, but I presume that in the hurry
of the Court moving from London to Windsor it has been
overlooked.
" I will write again on the subject in a day or two — ^in
the meantime I answered your letter, in order that you may
not complain of my not answering your letter. — BeUeve me,
yours obediently, Biltabt."
"Deab Buhtiho, — I hasten to enclose this letter from
Lord Belfast, to which I shall reply immediately on hearing
from you. I hope you and your wife and Ferguson are afl
busy in improving and augmenting the book, I have
examined Crofton Croker's bmk, and always find every new
thing helps to improve the knowledge we have, and we should
never despise any thing that bears on the subject. I met with a
Mr Thyuistan who is a fine classical scholar, to whom I showed
the Greek musical terms employed by Euclid; and to my
great surprise, he said they were not strictly and properly
Grecian, he not seeing how they could be derived or
analysed — in fact, they were quite new to him, particnlarly
the words ' Nete ' and ' Lychanos.'
" I had written so far when your friend Mary called on
me with your letter in consequence of what I shall repeat
my solicitation to Lord Belfast. I have always found in
experience, that anything one undertakes which depends on
co-operation from others, is apt to be protracted, and
ANNAIS OF THE IRISH HAKPERS
ultimataly to faiL You may probably have ultimately to
depend oa jouraelf, yet atill I think FerguBoii the most likely
person, from hia habits, atudiea, and capacity to be of ase to
you. I shall explain wbai you mention to Fiuacghty. The
pronunciation of all living languages must be for ever per-
plexing. The mourning songs, or rhapsodies, sung in a kind
of recitative by old Irish women at wakes, is prononuced
' Keena,' and this word changes into a participle as ' Ta sheed
i cheenan.' 'They are singing the dirge.' Croker finds it in
Hebrew and Welsh, bat does not notice its resemblance to
the Latin ' cano ' to sing."
" Never rest until yoa find some person, who caa find the
East Indian terms for music, Persian, Arabic, Hindostanny,
eta, but above all Sanscrit, This can be done easily in Dublin
or Oxford, as they have got Professors there of Sanscrit, who
might probably engage with eagerness in the pursuit. Get
also some Hebrew scholar to look at your terms, and
partionlarly compare them with the odd words in the English
Psalms, which no one can translate, and which I told you of.
I shall write soon again. — I am, Dear Bunting, yonrs most
sincerely, J. MacDoKNKLU"
Very soon a tetter arrived from Lord Belfast announcing
that he had received the Queen's consent to the DedicatioQ.
He had probably a real interest in promoting the publication,
being a man of liberal and enlightened taates. His young
son, who was shortly to succeed to the title, had intense
and literary taste and Irish sympathies, and some talent
as a composer. He died at an early aga Lord Belfast,
writer of this letter, was the grandfather of the present
Earl of Shaftesbury, president of the Irish Folk-Song
Society.
" BuxTOH, Sept. 8A 1839.
" Mt DiAS Sib, — Perhaps yon will be kind enough to give
the enclosed to Mr Bunting, as I am not acquainted with his
address.
" Her Majesty has been graciously pleased to grant hia
286
LETTERS FROM DE JAMES MACDOKNELL
nqueet to allow him to dedicate hia Work to her.— Toun
tnilj'', BxuAST.
** To Dr MacDohhxll."
This is the letter to Bunting : —
"BvTKtV.Sept. m 1839.
" Sir, — I have leceived the Qneen's commands to inform
joa, that she has been graciously pleased to approve of your
dedicating the forthcoming Volume of your Irish Melodies,
to Her Majesty. — I have the Honour to remain, yours
obediently, Bkuast."
Od receiving the above Cr MacDonnell wrote : —
"Dbak BuKTDro, — I think it beat that yoa should your-
self, as well as I, return thanks to Lord Belfast
" The notes I last sent were a Copy from the original,
which I now send. This will teud as I believe it written in
your own hand, to make the matter clearer, because I think
this of great moment, there being some reaaona for believing
the story to which it relates as old as the Christian era, or
older, for, although Ossian is represented as Co-eval with St
Patrick, this appears only to be a fiction of the Poet,introdaciDg
St Patrick in a Dialogue — but in the story of ' Dudrae ' in all
its Copies,^ of which you have got the worst, there is no
mention of Patrick (in 5 or 6 that I have seen), nor is there
any allusion to anything connected with Christianity, neither
places nor people.
"The word translated 'Druid' in the MS. is written
' Draoi,' and there is no evidence that this is equivalent to
Druid — there is a supposed allusion to the game of Chess, bat
this I also found to be a conjectural word.
" Take care to make out all the tunes called after Coll
Eittaugh, because one of them which I have heard, ia
not a March, but a kind of wild extravagant Rhapsody, like
grief and lamentation, supposed to have been played by his
own Piper, then a Prisoner in the Castle of Dun prior to the
1 Dt HBcdonnBll wu uKiTadlj hmiliwirith Bryion'ioopf of "Deiidn,"
BMde in Oountj Antrim, whlok Dr Doogkt Hyde qnoUa ia hi* " Hittoiy of
Wah UUntan."
287
ANNALS OF THE IRISH HARPEES
icre whicb took place there about 1645, in which 300 of
Alister's soldiers were immolated in cold blood — the Piper
played the tune to deter the Father from landing at the
Castle, to which he was steering, not knowing it to be then
taken by Lesly, and in the hands of the Covenanters, who, on
discovering that the Piper had effected his purpose cat off his
fingers and threw him into a caveni, from which he continaes
to play uudei^round from that day to this."
This letter ends abruptly and is unsigned.
Coll Eittagh (i.e., left-handed) MacDonnell, the Doctor's
ancestor, had been a famous soldier in his youth. In his old
age when his son Alaatair fought under Montrose, he again
took arms and was put in command of the Castle of Dunyveg
in Islay in the royalist interest which he held from 1644 to
1647, when he was entrapped into surrender by General
Leslie who promised him honourable protection. However
the old man fell into the hands of his enemy Gillespach
Gruamach, Earl of Argyle, who had him tried by a jury of
Campbells and executed by being bung from the mast of his
own galley fixed across a cleft of the rocks near Dnnstaffnage
Castla The incident of the piper's warning may have
occurred at Dunaveg. A natural son of old Coil's held
another little fort in Islay, and may have been coming by
sea to join with his father in the pacification till the pipers'
shrill lamenting note warned him of treachery.
The following reference to Ferguson's co-operation with
Bunting is of interest. The Anthony first referred to may
be either brother or son to Edward. The second reference
is undoubtedly to the son.
"Beuabt, March 8th 1840.
" DxAB BoHTiNa, — It is now Sunday night, and yet no
word about Ferguson, but I am on the look-out for him
and will take advantage of the hints you give me— observe,
that I was not sure you were right in beginning to pay, for
I never saw a poet, a publisher or writer of any kind, that
ever was contented with any kind of pecuniary remuneration
288
LETTEES FROM DR JAMES MACDONNELL
— they all estimate their own services very highly — however,
my opinion now ia that you can't be now dished or deserted,
for I am convinced that your wife, yourself, and Anthony
can do all that is requisite, supposing you to obtain no
further assistance from Petrie, Donovan or even Feivusoo —
yet I do not slight their services, they must each be very
useful in his own vray, if they can be induced to give their
minds to it. No one can estimate them too highly. Donovan
is very important. Remember the word ' Gille' which yon
pronounced with a soft instead of a hard G, is 'a servant
boy,' bnt ' Gowle ' is ' the shoulder ' — as if two people were
travelling or working, ' shoulder for shoulder ' helping each
other. Tell this to Mr Donovan. I am writing the sound
only.
"Anthony* drank tea with us last night, and I am much
pleased with him. You don't mention having got my losg
letter in a double cover, about ten days ago, it is no great
matter, yet it would be odd if it were lost. — Tour sincere
friend, J. MacDosnkll."
The book was published in 1840, and copies were presented
to the Queen and Prince Consort by Lord Belfast, who wrote :
" London, July 17A, 1840.
"DBAS Sm, — I have the honour to acknowledge the
receipt of a parcel containing three copies of your work.
I yesterday had the honour of presenting those intended
for Her Majesty and Prince Albert, which they were
gracionsly pleased to receive. — I also request yon to accept
my best thanks for the copy you were kind enough to
present to me. — Allow me to remain, yours obediently,
" Bblfabt."
Dr MacDonnell wrote in rather critical vein :
"But AMI, Aug. leik '40.
" Deab Bdhting, — I would give a great deal to know how
this friend of yours Charlotte Elizabeth derived such
ANNALS OF THE IRISH HARPERS
Sleasare from the harp, hearing that she is snbject to sneh
eafoess.
" I bare a Poem written by an obscure person, in which
there ia a sentence, that might apply to her Picture,^ if she
be pallid, and delicate,
" ' Upon a tock lerne sad reclined
And gave her locks dishevelled to the wind
Her cheek, which once the crimaon mom displayed
Was pole as Cynthia, daughter of the shade ;
Her harp, unstrung, was careless laid aside.
She only listened bo the murmuring tide
And sighing gale, which scarce was heard to blow
But seemed from sympathy to breathe her woe.'
" I hear of a very noble piece of Statuair having come
from Italy, bat the design and work of an IriBh Artist, in
which a figure, personifying Ireland, is supported by
Dr Doyle — if you hear of any Print from this statue let
me know of it. Tour friend, Charlotte Elizabeth, will
have no great liking tor the Dr, but might admire the
workmanship.
" The only harp-maker in Belfast is the one who made
Pat Murney's ' which you heard. I think it was eight pounds
it cost, and I was the Paymaster. There are some ornaments
upon it. If you desire it, Miss M'Cracken and I might
superintend the work, and pay him as he proceeded for
be is poor. Mr M'Adam knows him — he worked there.
" The only defects I see in your Preface are two — you
don't dilate and address yourself at sufBcieat length, for
persons unacquainted with the Language of Musicians —
of what use is it to me for instance to hear about the
Diatonic Scale, the Diatessaron, the 4th, the sharp 7tb,
the chord of the fith, etc., and yet all this might have been
' Cbirlotte Elizabsth, the Orango authoress, had been portriyed in the
chtTaotar of Erin, and apparsntly ■ atitae of Dr Dojle, the oelnbratcd
Oatholio eontroTsnialitt, had alio b«ea eieoatad in allagorical chaiactar. In
each case the effect mast hare been abanrd.
" A yonng harper «bo played at Oleiiann Outle, 1839.
890
LETTERS FROM DR JAMES MACDONNELL
rendered intelligible in an additional page, even to the
vulgar.
"Don't neglect this I entreat of yon, to find out the
Arabic, Persian, and above all the Sanscrit terms of art,
becanae the roots of the words are not in Greek or Latin.
In the next place, you say nothing of the spirit of patriotism,
and the actual utility in a national point of view, of keep-
ing alive all opinions, customs, and innocent prejudices, which
bind mankind to their country, wherever that may be,
whether it be the Deserted Village, or the mountain that
leads them to the storm — these when early cherished, act
like instinctive impulses, and carry with them a magic
charm, they are delightful in prosperity, console us in
adversity, they accompany us in the city, or in the
wilderness — when old, we dote upon them. Now there
are do associations or feelings of this kind so strong as
tiiose connected with music and language. I therefore argue
that the Harp School should be revived, and if no other
party of more moderate people take it up, I will urge
M'Adam,! Bell, Tenent* & Co., to appeal to 0'Connell> to
adopt it ; but I would gladly see it resumed by such people
it we bad them, as Joy, Bradshaw, and Williamson, Fulton
and M'Cracken, with Bunting at their head. — Your
affectionate friend, J, MacDokheix."
" DzAK Bunting, — I enclose you nine pounds, and have
given to our friend Mary the odd money, for the six copies
of your book that I had for sale — it is a great pleasure to
see it completed. My little harper pleased two or three
great people very much, who visited this since you were
here — viz. the Bishop of Derry, Lord Lansdowne, and Mr
Blake of Dublin. I have a great desire that you should
endeavour to keep the instrument as well as the music
olive, and yon are perhaps the only person who can now
do it — my son Alexander was here with Lord Lansdowne.
" Do not rest content with what you have done, but use
the name and influence you have obtained in augmenting
I ICAtUm wu A Beirut mui, and Secretu; to tha Irish Hup Socis^.
* Tttisnt wu a son-in.law of the M'Cncksii &mi];.
* Duiel O'CoDnell.
291
AKNALS OF THE IRISH HARPERS
the volame, both is notes, words, and prefatory matter,
particnlarlj expanding that part respecting the 'essential
differences' between the music of different nations, with
the causes of those ditferences ; for this is the point in
which the connection between this art and the history of
mankind is m(»t connected.
"One can't think or hear of the history of any art or
science without going back immediately to Greece, and
from thence to Egypt, in which we soon lose our way —
then we find another route into the Scripture, and there
stop B^in. Sir WiUiam Jones has traced something in
Persia, and the thread of this ends at Benares in the
Sanscrit tongue, where it should undoubtedly be followed
by you into Thibet, and if nothing can be made out there,
or in China, we are at the end of our tether. All further
hope is almost evanescent.
"The Greeks and Romans traced every old and good
and great thing to Zoroaster and Pythi^oras who got &eir
sublime views of the mind in the East. I read the Institu-
tions of 'Menu' translated by Sir William Jones from
Sanscrit, which is a most wonderful, work, but contains
nothing about music or Physick, which disappointed me.
There is a great Sanscrit scholar in Dublin connected with
the College. You should talk with him — also get transla-
tions of the tew such books extant, one of which is by
Euclid on music. In the last number of the Phrenological
Jowmal, about two months ago, there is a paper you should
peruse. Continue to correspond with Charlotte ElizabeUi. —
Your ever obliged friend, J. MacDonmell.
"Stftmbtr S8(Ji, '40."
CHAPTER XXV
LETTERS RE PIJBLICA.TIOH
A TOLUHIHOUS correspondence has been preserved, with
regard to the business arrangements and engraving process
of the final volume. The lettera are m&inly from Mr J.
Sidebotham, a solicitor, resident in London, who had ab
one time lived in Belfast He had helped Bunting through
with his 1809 volume also, and had been business director
of the great Belfast Musical Festival at which the Measiah
was produced.
A few selections from his letters will suffice.
"No. S6 HATTON OAaDEN, LONnON.
"My dear Mr Bunting, — Your letter gave me inex-
pressible pleasure, its contenta recalled to my remembrance
those very happy days when you and I regularly met to
supply the scientific composer and pewter-puncher (Skarratt)
with correct copies of some of your valuable MS. for
publication, to say nothing of those glorious repasts or
Breakfasts, which usually preceded our delightful occupa-
tion. I need scarcely say how proud I shell be to second
your views in any manner which yon may require — and
first as to the Law.
"At the time your work was published, in 1809, the
only statutes relative to Copyr^ht were one of Queen Anne
and the 41st Geo. 3rd. cap. 107, and which alone govern the
contract between you and dementi as to the sale : by the
acts referred to, C. obtained only an interest of 14 years
293
ANNALS OF THE IRISH HARPERS
exclusive sale, and at the expiration of that time tbe work
reverted to the aathor (if then liviug) for another exclusive
term of 14 years (in the absence of any special agreemeni or
deed in vmting to the contrary) — you have therefore lost
the advant^^ of tbe last 14 years exclusive sale. In the
year 1814 there was another act passed (54th Geo. 3, cap.
156) by the 4th Section, of which it was enacted that ' from
and after the passing of this act, the author of any Book
composed and not printed and published, or which shall
hereafter he composed and he printed and published, and
his assigns shall have the sole liberty of printiog and re-
printing such Book or Books, for tbe full term of 28 years,
to commence from tbe day of first publishing the same,
and also if tbe author shall be living at tbe end of that
period for the residue of bis natural life' — by which you
will perceive that the term was considerably exceeded. I
should therefore advise that a written notice immediately
he given to Willis to stop his further interference with tbe
work, and if yon think proper I will immediately send over
the proper forms to be given that your signature may be
added and witnessed tJ^ereto. A Copyright cannot be
legally conveyed from its author excepting by some Deed
or Itistrument in writing — therefore the alleged sale of the
plates was and is worth no more than what they will weigh
at tbe price of old metal; tbe time, however, has expired,
and therefore no more need be said on this subject.
" I would take leave to suggest tbe reprinting the
contents of the 1st Vol. as single pieces (as well as alto-
gether in one book) in tbe way in which Operas are now
published, many purchasers would be found at 2s. for a
single Song or Tune, who cannot spare 15s. or 20s. for a
Book. Power latterly found his account in adopting this
plan in Moore's Books of Melodies, and thousands became
purchasers wbo otherwise would never have bought the
work. Of course you will also consider whether it will' be
worth your while to revise or reset some of tbe old
favourites in tbe Moorish style both as regards Poetry and
Aceompaniment.
"The great Beethoven Wire- workers (I am afraid) do
not purchase songs, the money is to he made from 'the
294
LETTERS BE PUBLICATION
moasea ' (senza the first letter), who encouraged only snch
works oa aboond in one-fingered Bassea, they abhor and
detest all left-handed fly-catcbing passages, and Galvamc
starts by which the fingers of one hand are trying to enatcb
the not£s from under those of the other, followed by dis-
locating Extensions, and a continuous rumbling of most
alarming-looking Chords in all Keya, moods, and tenses.
" If I can be useful in superintending the Publication of
the proposed works, correcting Letter-press, &c., you may
command my aervices upon your own terms, according to
the success you meet with in bringing before the public
those rich stores of melody, which I know it is in your
power to produce — let me entreat you to lose ao more time.
I am really alarmed when you bring to my recoUectios that
it ifi 28 years (28 years) since yon and I were so agreeably
aaaociated together in bringing out the 1st Vol.
"With many kind regards to Mrs B. and family. —
Believe me bo remain ever sincerely yours,
"J. SiDEBOTHAM.
" Tkunda^, Aing. l&h, 1838.
" N.B, — I was out of town yesterday when your letter
arrived, otherwise I should have answered it instanter..
" You omitted to state the place of your present
residence. I have directed this at random, and from an
imperfect recoUection of the name of the street,"
"86 Hatton Gabdin, July 19Ui, '39.
"Deab BtTtniNQ, — Herewith you receive the whole of
the corrected proofs, t(^ether with the original ones of the
ninety-five plates, as well as two new plates of the Osaianic
airs. There remains nothing more to be done but the
unfortunate ' Cuckoo.' The whole of the ninety - seven
plates, and all the MS., are in my exclusive possession, and
wait your further direction. Skarratt has nothing what-
ever belonging to you but the said ' Cuckoo ' notes. I have
examined every plate myself with your corrected proofs,
and I think the additional matter marked by you in red
ink has been faithfully attended te and transcribed to the
295
ANNALS OF THE IRISH HARPERS
plates. Tou will obaerre that pages 44, 68, 70, 71, as
proved after Skarr&tt said he had corrected them (and
delivered to me this week as such), were in some particulars
erroaeous, bat which I detected on examination soon after-
wards and Bent back to him, and I have got them again in
a perfect Btate, notwithstanding the proofs now sent which
appear still faalty. I rec^ved your letter, dated Belfast,
and should have answered it immediately, had not Skarratt
kept pouring in the plates bo fast upon me, that I found
(for a certainty) that I could send the whole at one blow,
and also my letter along with them. The Is. 2d. per plate,
I suspect, was easily earned, for he appears to have set
aside all his excuses and Cathedral Chaunts, and attended
solely to your business, and during the last fortnight he
never missed a day without sending me a dozen of the
plates, whether it was dinner-time or not
" I have paid him to the uttermost farthing, and he is very
obsequious and anxious for more MS. Hackett's work on
' Psalmody ' is now finished, it is a folio work, price 25a
to subscribers. The publishers live in Preston's old house
in Dean Street, Soho, now I believe ' Coventry and Hollier.'
"I am glad that you were able to take a journey to
the North. I wish it had been possible for me to have
met you there. I don't know anything which would have
given me greater pleasure than to visit Belfast, and con-
template those days of old, and our 'merry meetings' at
the Commercial Rooms, where with yourself, Moorhead,
Bob Haigh, May, Gunning, Soane, Drs Thomson and Magee,
we had used to meet every week to scraieh Haydn and
Beethoven ; by the bye, it was on these occasions that I
first heard those celebrated three Symphonies of the latter
Author, or rather of two of them in C and D — the third
(Eroica) looked so ferocious (at the basis particularly) that
we postponed it by universal consent, and considered it
'Holy ground' until the 'Light of other days' should come
upon our benighted understendings, and teach us how to
pack four bunches of five semi-quavers each, in a quick
movement intended by other authors to hold only sixteen,
I have for many years past retired behind a tenor, and in
the winter season am much ei^i^ed in vaiions musical
296
LETTEES SE PUBLICATIOK
Societies, and of coarse often meet with Beethoven's
STmphoniea, particolarly the three first, and I always
think with pleasure on the company amongst whom I
originally found him. I shonld hope that there will now
be no further delay in bringing out your valuable work,
and believe me, that no time ^all be lost on my part to
forward ao interesting an object. — I am, dear B., very truly
yours, J. SmiBOTHAM."
"100 Hatton Oabsbn.
"Dear Bomtikg, — I was prepared for the melancholy
news respecting the Ogle fanuly, having previously heard
of the hopeless state in which tiie late Mr and Mrs Ogle
were in about four weeks ^o. I have heard nothing of
Pearman lately, so I suppose that he has received your
directions ae to the delivery of the Music when printed.
Skarratt had his Ss. and cab-hire on the very day he did
the job, having called upon me with bis iisual ready money
eagerness on his way home from Fearman's house. I
suppose that we shall soon see the Book. Tour friend
Earl Belfast (Chamberlain to the Queen) ought first to
introduce you to Her Majesty with a copy of the Work, at
<me of the Levees. This would give it great iclat Amongst
the presentations in the Court-circular; the public would
read ' Mr Banting to present a copy of his New Work
on Irish Music, dedicated to Her Majesty' (obbligato for
Bag- wig, embroidered coat, Sword, and Diamond Knee-
buckles). "Wishing you all sorts of success, I remain,
very truly yours, J. Sidebothau.
«Maj2n<i,*4a'
"100 Hatton Oabdbn.
" Dear Bpnting, — It was only yesterday (the 14th inst.)
that I received the box containing 3 parcels severally
addressed to ' Messrs Broadwood ' — ' The Earl of Belfast '
and the ' Coaut«ss of Charlemont,' together with 13 separate
Books, all of which were personally delivered by Self and
Cab within 2 hours afterwards — viz.: at the Earl's boose,
29r
ANNALS OF THE IRISH HARPERS
No. 3 Eaton St., Belgrave Sqaare — the Countess' at 49
Crrosveuor St, and Messrs B.'s parcel, and the 13 loose
copiea at their old and well-known WarehouBe. The work
m&j therefore be said to be now fairly afloat in the high
places here. I suppose that Willis (whose Warehouse is
now in the same street wit^ the Coubteas) will shortly be
applied to for copies. You should loose no time in supply-
tbe Warehouses here. I have, on the other side, sent yoa
the finishing account of my Stewardship, and wishing you
all happiness and Prosperity, I remain, dear Bunting,
truly yours, J. SlDEBOTHAH.
" Wednaday Ibth Jviy, 1640,
{St SvUhin)."
"100 Hatton Gaxden-
" DiAB Bunting, — The error was yours, as to the copy
misdirected to the Countess of Charlemont. However, I have
succeeded (after several applications) in getting it returned,
and I have repapered and redirected it 'To uie Rt. Hon.,
the Countess of Cbarleville,' after which I delivered it
personally at the house. No. 8 St Geotge's place, Knights-
bridge ; she never lived in ' Groavenor Street ' at whidi
latter place the parcel was particularly addressed by Messrs
Hodges & Co.
" I have obtained the plates referred to for correction,
and Skarratt promises next week to knock them off without
fail Mr Chappell has sold some copies, but does not want
any further supply at present, having received 25 copies
yesterday from Dublin — the Duke of Leinster came to
Bond Street yesterday, expressly (as he says) to purchase
a copy. I have apprised Messrs Broadwood's man of
business (Rose) of the wholesale and retail prices of the
work — (£1, 4s. Od. — £1, lis. 6d.), which he says shall be
attended to ; as to the Messrs B.'s, they are quite inaccessible
to commoners like me. Pearman. can be getting on print-
ing the other plates, if you like, so that Skarratt's work
when delivered will not occupy him (Pearmau) 24 hours.
I congratulate you on your Son's good fortune and expecta-
tions. Oh, that my Boy bad such an Uncle,' however the
' Anthony Bunting, whi helped hit brother'a ton, joang Anthony, et
the outset o[ bis promiBiDg caroer u engineer.
LETTERS RE PUBLICATION
tame for starting him is oot arrived, and when it does, who
knows what fortunes may turn op — the ' pleasures of hope '
are a favourite study with all mankind. — Yours truly,
"J, SiDEBOTHAH.
" tytdnetday evfning, 2%nd Jvif, 1840."
"100 Hatton Qarden.
"Dear Buhting, — Since you will not present the work
to her little Majesty in propria persona, there will be no
difficulty in conveying it to her by other means, viz., through
the Lord Chamberlain'e office, with an Autograph letter
from yourself to accompany same, and I will undertake the
delivery of it myself, the proposed letter should be submitted
to some of your literary friends, as there is a knack and style
in doing these things which none but professed scribblers
can accomplish. I hope that the alterations in the plate of
the ' Irish Cry ' which you allude to, was very material. The
plate must have been worked off before you wrote to Skarratt
as there certainly was do time lost on t}uU occasion at least
he came to me breathless with baste and showed me your
letter, and he and the cab went about it instanter.
" As yon wish to know my opinion of the present English
musical taste I must say that I consider it as decidedly
against national or any other melodies. Nothing goes down
at present but Straus's Waltzes and others of that school,
worked up through a whole quire of music paper into
variations (and aggravations) in all moods and tenses both
major and minor. However, I do not despair of your book
having a tolerable sale here, being an historical work, and
the dilettanti if they will not play from it, would like to
have it in their book case for occasional reference. If only
one third of the musical people here take a copy the sale
will be enormous. Hoping to see you and your sou before
the summer is over. Mrs S and myself unite in kind
wishes for your welfare, and with best regard to yourself and
family. I remain, dear Bunting, yonra tnily.
"J. SiDEBOTHAM.
" P.S. — Excuse scribbling in haste as my harvest is on,
291)
ANNALS OF THE IRISH HABPERS
and will coatiiiuci until the Courts of Equity close, Augast
next.
••Salurday, June 6th 1840."
The next letter is from Skarratt, whom Mr Sidebotham
employed to engrave the plates for Banting.
" Dkab Sir, — In one of your letters to me you state that
'the pen has hardly been out of your hand for eighteen
months ' on the contrary the pen has hardly been in mine
for the last eighteen months, or you would have had an
answer to your letters ; but now having leisure am taking
it up, I will not lay it down till I have endeavoured to make
an ample apology for my neglect of not writing to a valuable
old friend, and one who is valued by poor me, if that be of any
avail. I don't know how it is but sometimes the mind will
lapse even to the injury of the possessor's interest and duty.
So I occasionally prove it. I have thought without action,
action without thought. They are like two pigs in a string,
I can't get them to go well together. Although I have
neglected my duty to write to you, your kindnesses have
ever been gratefully remembered by me, and ever will be.
" In one of your letters you ask my opinion of your work,
this I consider an honour conferred on myself, and to the
beet of my ability you shall have it. I hardly know which
to admire most, the untiring perseverance that has brought
so much ancient and valuable musical matter together, or
the liberality which brought it in such a handsome form
before the public, both ought to be fully appreciated, but
when it is known the naked state you bad these rough old
chaps introduced to you in order to be clothed, and when it
is seen how richly you have decorated them, it is a matter
of no small surprise, even to one who can make an estimate.
I will venture to assert that do man without a great and
versatile genius combined with a real love of the ancient
music of Ireland, would have attempted the task with any
hope of success, and this seems to have been easily accom-
300
LETTERS SE PUBLICATION
plished by Edward Bunting. For my own part when I view
the nature of several of the airs in this collection, I am
Burprised how you avoided 8ths and Sths, or some unnatural
prc^ressiou of the harmonies, but let the Motivo run how
wild it may, the controlling master-hand is shown in ita
accompaniment. For a epecimen of learned ingenuity I
would refer the Tyro in the art to the air ' Oh White Maive.'
I single out this because one portion of the accompaniment
is a canon in the 8th below. Thus much of my opinion,
and I should not have been able to say so much, had I not
had an opportunity of perusing the volume (hastily I allow)
E resented by you to James Sidebotham, Esq. I have not
ad time to peruse the literary portion of the work, nor
shall I, for the volume most be returned to Mr S this
day ; he sent it to me ae a guide for me to re-engrave two
pages, agreeable to your MS. so that they may correspond
with the remainder of the work ; they are now done, and
the corrections to twenty-two other pages. Having performed
a part of my duty, I will endeavour to complete the remainder
in which is comprised a portion of my interest In your
I last commimicatioQ you ask me, to let you know what part
I of the year I am least occupied — in answer I say just now,
but I shall be always happy to render my services to your
convenience. I should state that light cheerful days are the
best for carrying out any work in which pains are to be
taken, and as you have intimated that you have another
work in contemplation for me, let me have it at your earliest
convenience, and depend upon it I will use all my remaining
' ability to make any work of yours agreeable to your wishes.
I thank you most sincerely for your liberal remuneration
I for all that I was able to do in the Vol. of Ancient
j Music of Irdavd. It is not often that I have an oppor-
tunity of blending my humble efforts with other artists
of superior ability, aa in this handsome and interesting
publication.
" Wishing you health long to enjoy fame, and if possible
fortune from an extensive circulation of the AtuAtmt Afusie
I of Ireland is the fervent hope and wish of yours very
sincerely, R. Tho. Skabrat.
301
CHAPTER XXVI
LAST LETTEltS AND APPRECIATION
BmiTiNQ's daaghtei Mary seems to have paid a lengtJieiied
visit to Belfast in the aatnmn of 1840, after the pnblicatioo
of his third volume. Some extracts from letters to her
exhibit a very cheery tone, in great contrast to the qaota-
tions WQ give from the letters written to Mary M'Cracken
during the years 1839 and 1840. To that old friend he had
unburdened all the troubles and anxieties of his heart;
but to his young daughter he writes good news of the
favourable reviews which his book is receiving and compli-
ments paid to him by eminent persons.
Here is the first letter to Miss M'Cracken, written when
his work was approaching completion.
" 16 Dk. 1839.
"Dear Mabt, — I sent you a newspaper to put you in
mind of your old friend, my work is now over, ^ank Glod,
nearly put out of my hand and my poor wife's also, who
has had a weary time of it; indeed, I may safely say for
the last twelve months, the pen has never been out of
her hand, copying, copying, back and forward, until both
her heart and fingers were broken. As for me between
the various annoyances, and other distressing things I have
met, surely no one would believe bow I have surmounted
them, in my weakness of both mind and body without a
single one to help me with their advice, except my own
wise woman, and as but for her I could have done nothing,
302
LAST LETTERS AND APPRECIATION
she haa indeed been a good fortune to me — haviog to
atmggle with eveiy wayward appearance of ill-health, and
what was, I believe, worse on her than all, the extreme
irritability of mj temper, not improved bj the maoy crosses
and joatlmga I met with in the publication of this herculean
task, and a most dreadful task it has been to me all the
time ; but now it begins to lighten. The entire of the
letterpress is finished by ferguson, and right well he has
done it There is a life and spirit about it now which
makes it interesting, as it is itself most entertaining
to read, CNeill's book written by Tom Hughes, has
furnished the moat delightful stories, which Ferguson haa
with singular dexterity turned and manufactured into a
beautiful narrative, altogether novel and simple and racy
in a high degree."
" 46 Uppbr Baooott St.,
Jan. 10, 1840.
"Since I wrote you I have found out another main
article in Irish music, namely, the extraordinary coincidence,
between the modulation as described in 1172 by Cambrensia
and that now found out by your humble servant, being the
identical same, aa appears in our tunes this day, giving an
antiquity to them of nearly seven hundred years. This new
discovery followed the one found out in your house, and waa
consequent on it, so that everything relative to Irish music ia
known, and the musical people may by this new light shown
to them, compose away as much as they please in the Irish
style without fear of going wrong. Poor Henry Joy,* how he
would delight in all this if alive; he comes into my thoughts
with many of my old friends very often. How many we have
lost within the last twenty years."
" March SD, 1840.
" I am better these last few days since I lost wrote, and
aa the prospect brightens of getting my work out soon, I
think my health and spirits will improve accordingly. It
has indeed been a heavy concern on my mind for two years,
' Htnrj Joy kkd oontribnttd largaly to the litonrj mktUr introduotory
t» tha 1609 TOlnnie.
303
ANNALS OF THE IRISH HABPEES
and on my wife's also, as she says, and truly, the pen has
never been out of her hand for the last two twelve months.
However ia giving this book to the public my mind is
discha^ed of a weight pressing on it for nearly fifty years ;
but as to making anything out of it, I have given up the
idea, as the coat of getting it out will amount to close on
£1000. The book I hope will be published some time in
May at furthest."
"Ayril 9tk, 1840.
" I may make a little fame but no money [ fear, and the
trouble of bringing out the book to poor Mamma and me has
been immense. No one would believe it, and the knowledge
of it sets my brain awondering how we accomplished snch a
mass of downright hard work. It is certain without her
active assistance it could never have been done."
" My labour at the Irish music is all but closed, which I
am sure you are pleased to hear. My very last sheet is
now printing off, and we expect to be able to publish in the
course of a fortnight to the world. I begin to fear for the
sale of it at last, for hitherto I never doubted, but at least
we should sell as many in the course of six months as would
pay the cost of publication. It now admits of doubt for
many reasons; first, the taste for Irish music is on the
wane, or rather weaned ; and secondly, the price which we
must make at £1, 10s. each book, stands much in the way
of selling a great number. There are a few ardent lovers of
their country whom I think will buy it, but, unfortunately,
they are indeed few. We must hope the best, notwithstand-
ing, but the work itself will remain a monument of my
unwearied perseverance and industry for nearly fifty years,
and I have the satisfaction of reflecting farther, that it
conld not at any period of the last thirty years have come
out half so well, and with so much interest to both the
antiquarian and the musician as at present My discovery
of the structure of Irish music, etc., in your house stamps
the work with no common int^st, whidi discovery makes
304
LAST LETTERS AND APPRECIATION
the book invaluable. As a celebrated antiquarian here said
now any one may compose Irish tunes.
" I have no hopes of its being of benefit to me or my
family, the only remuneration, I expect, is a sort of intro-
duction for Anthony, as the son of a man who toiled so
long at the expense of both money, labour, and health.
This last I add as I truly think it has in some degree
shortened my stay in this world, in trying to restore (as
poor Henry Joy said) a page in the history of man. What
will that serve me when I shall be asleep in the grave, and
very possibly be there before the fatiguing business appears.
I may never see it."
In: strong contrast to the sorrowful tone of these letters,
in which he unburdened the weariness of his heart to his
life-long trieud, are the letters which were written to his
daughter, Mary, already referred to. She was on a
lengthened visit to Belfast during the summer when the
book appeared. The letters are treasured by the descendants
of that daughter, and the following extracts have been made
for us. A cheerful, even jovial, spirit is evident, there is no
trace of the foreboding which too tmly warned of the
approach of death. He boasts of the compliments paid to
him, and tells of the favourable reviews.
"Av^. 13tk. 1840.— Mrs S. C. Hall, the authoress, is
praising my work up, along with the rest of the ladies.
"Aug. 22nd. — Long letter from Narramore, the Arch-
deacon's place, wherein Miss Ball repeats her request of
your visiting her, and really seems augry at our not going
there, we must go some way or other, otherwise my best
friend, the Archdeacon, will be displeased next. She has
three tunes (Irish) for me as a bait to bring me to
Narramore. Her letter, as usual, with all the letters I get
nowadays, contains great praise of the Book. Miss Chapman '
is as much elated seemingly as my other acquaintance with
the success of the work. Mr Groves, too, paid me many
compliments on my sncceesful completion of the work.
' A raktJTa of Ura Baaling.
AKNAI5 OF THE IRISH HARPERS
"Go over to the Doctor and ask him for tfae Morning
ChronieU, ia which the review of my work is, and the
Citisen also."
The Ciiizen wae a Duhliu monthly, in which William
Elliot HndsoD, a distinguished Gaelic enthusiast and friend
of Thomas Davis, the young Ireland leader, contribnted
articlefi on Irish music in the early forties.
Bnntii^ wrote further to Mary :
"Aug. 2&th — There is a critique in the Athenaum for
15th and 22nd of this month, both are suSiciently cold, but
the laet mentioned one is the musical critique which is neither
true nor well done — but on the whole it is rather com-
plimentary, for tho' it censures, it praises in such a way
that the reader can hardly make out whether the writer
was in earnest or jest, it will advertize the work as it has
a circulation of 14 or 20,000 which ia a good thing, and
will be of service to us ultimately. ... Mr Smith is
just returned from Cheltenham, he aaye the people there
are in great love with the Books. Peine is away collecting
more tunes in Connaught his pipe's out poor man for all that.
" Afig. 29tA. — Cooke, has given me an Irish tune called
' The Three Jolly Devils ' he ia a very queer fellow. Your
mother told you of Mr Lover's grand dedication, in which
he calls himself my admirer Lord, the man's in love with
me all at once!! he is not so wise in doing this, and
acknowledging the source from which he takes the tune,
as he subjects himself to an action for damages, by so
doing. However, if we make what we are in hopes of
doing, a remuneration by the book, we shall let him alone.
" Avg. Z^tk. — Cknke thinks Thalbei^ the nicest player
of the piano in Europe. Liszt has too many tricks, so
much so that when he finishes his pieces the next thing
you expect Is that he will swallow the piano.
"Aug. 302A. — (At a dinner party). — Cooke sang a very
pretty song, and I played to please Cooke an Irish tone
or two — he is like the rest full of commendation of my
efibrts in restoring Irish music and of my skill Mr Cooke
LAST LETTERS AKD APPRECIATION
was sayiDg the Queen ought to take notice of my work
in a National point of view, and make some demonstration
in mj favour, particularly as the Irish are so partial to
her.
" Buy the penny Journal, and you will see the song
Lover has dedicated to me.
"S^. 1st. — In the London Sun newspaper another grand
Notice of my work, and in the penny Journal of last week
another, I ought to be proud, bui I am not.
" Sepr. 101%. — I never met with more unqualified praise
than Frank Robinson bestowed on your old Daddy's labours
this day, the manuscript (what he could appreciate) being
so admirably set and particularly one tuue had taken such
bold of his imagination, that he wished it far enough, as
he could not get rid of it "by hook or crook." Young
Mr Irwin (Sandford) giving me a pressing invitation to
see him at Armagh is curwas. May be I may, and may be
I may not comply at some future time if I live. I would
be glad to shew you where Uncle and I first drew breath.
"Sepr. 16(A.— Call with the Doctor, tell him to get
Chamier^ Edin. Journal for the 19th instant, a long paper
" about the young man " who took down Irish tunes in 1792.
"Sep. 24th. — Think of the works being reviewed by a
New York paper. I have not seen it yet as Petrie ran
away with it, it has been criticised much in the English
Journals of late."
A letter received by Mary from her mother about the
same time gives us a glimpse of Anthony Bunting, now a
widower and childless, being welcomed in his younger
brother's home circle and rejoicing in his triumph.
••S^. 16th, 1840.— Your Uncle Anthony's birthday
will be this day fortnight Michaelmas Day the 29th of
this month, he is engaged to dine with us on that day as
he has done on every corresponding day for the last six
years. — He will on that day be 75 years of age."
Buntii^ died at his home in Upper Baggott Street as
307
ANNALS OF THE IRISH HAKPERS
already stated in our introductoiy memoir. A letter from
a Northern man, reaident in Dublin, Mr James Orr, addressed
to a Belfast friend, was published some time ago in
The Ulster Archaologicai Jowmed, an admirable periodical
edited by Mr F. J. Bi^er. The letter was dated from
Dublin, 3rd Jane, 1845, and in the course of it the writer
said:
" Amongst those friends which death has deprived us of
I am sure you regretted £dward Bunting's. His death was
awfully sudden. His temper was so singularly disagreeable
that the very great intimacy that had existed between him
and me had ceased for a length of time previous to his death,
BO mach so that some time had elapsed before I heard he was
no more. He has left three very fine children, who are
peculiarly blessed in having such a mother as they have. I
sometimes meet them in the street. They are all welL But
was it not a most extraordinary thing that some friend
capable of doing so, did not notice his death in such a way
as, I am sure, hie abilities and wonderful exertion in rescuing
the music of his country from, I may say, annihilation, and
as far as such a publication admitted, of giving so valuable a
history of ancient Ireland as is contained in his two books ;
hnt not one word that I have met with gave reason to think
his name was worthy of remembrance, as remembrance I am
sure with all his imperfections he deserved."
This letter coming from a man with whom Buntii^ had
been intimate and had quarrelled, has a peciiliar interest, but
we must not let it leave as with the impression that Buntii^
died without his due of honour from his countrymen, or with-
out the aSectionate regret of an intimate circle of friends.
The article by Fetrie, from which we quoted so largely in
the Introductory Memoir, was pablished in the Dublin
UniwrsUy MagadM. It shows us Bunting was received and
venerated within the circle of the great Bcholars of the era — a
circle which included his old friend Whitley Stokes, who
survived till the year 1846, and his son, Dr William Stokes,
LAST LETTERS AND APPRECIATION
one of the most gifted and charming of men, donbtleas
regarded Sunting with sympathy. George Petrie, as great
an enthusiast about music as Bunting himself, was beloved
by all for his sweet temper. Young Samuel Ferguson, the
poet, was his chief helper in his last labours. We find his
handwriting constantly among the later papers. He was a
true lover of music, and we may be sure he drank in the sweet
strains of " Ceann duhb Dilish," and the " Pastheen Finn,"
and many another old air from the playing of the man who
had gleaned them from the harpers. His appreciation of
Bunting's work, his pride in his share in it, is proved, as
already mentioned, by the tact that his first gift to his
betrothed was a volume of the Ancient Music.
Bunting had puzzled about many points in connection
with the nature of Irish music, and here at the end light
came to him when he argued and chatted with the great
Gaelic scholars, John CDonovan and Eugene O'Curry, who
could quote for him the very words of the annalists and old
poets of the Gael. When we read O'Curry's wonderful
revelations about music and musicians in ancient Ireland, we
can realise what intense pleasure Bunting must have had in
taking to a man like that, though before be had accumulated
his full knowledge. The scrap of paper which I referred to
whidii has Bunting's pencilled notes on one side, and O'Curry's
copy of a poem and signature on the other, suggests that
there was great argument and discussion between them.
We cannot help feeling that a due need of appreciation
was accorded to his work by such scholars and friends, andt
finally, bear what Thomas Davis had to say about Irish
music, writing, we may be sure, with Bunting's last volume
before him for many of the tunes in it are named :
"No enemy speaks slightingly of Irish music, and no
friend need fe&r to boast of It. It is without a rival. It's
antique war tunes, such as those of O'Byrne, 01)onnell,
Alestrom, and Brien Boron, stream and crash upon the ear
309
ANNALS OF THE IRISH HARPERS
like the warriors of a hundred gleas meeting, and jaa are
borne with them to battle, and they and jou charge, and
straggle amid cries and battleaxes, and stinging arrows.
Did ever a wail make a man's marrow quiver, and fill his
nostrils with the breath of the grave, like to Ululu of the
North, or the ' Wirrasthrue of Munster ' ? Stately are their
slow and recklessly splendid their quick marches, their
' Boyne. Water,' and 'Sios Agua Sios Lion,' their 'Michael
Hoy' and 'Gallant Xipperary.' The Irish Jigs and Planxtiea
are not only the best dancing tunes, but the finest
quick marches in the world. Some of them would cure a
paralytic, and make the marble-legged prince in the
' Arabian Nights ' charge like a Fag-an-Bealach boy.
"The hunter joins in every leap and yelp of the Fox
Chase. The historian hears the moan of the penal days in
' Drimindhu,' nnd sees the embarkation of the wild geese, in
' Limerick's Lamentation,' and ask the lover if his breath do
not come and go with 'Savoumeen Deolish' and 'Lough
Sheelin.' "
Such was the music which Bunting devoted his life to the
rescue of. Let honour and veneration, and love be accorded
to him from the people of Ireland.
INDEX
Abekcorn, M«rctiion«« of, M
Aberdeen, I^v, M
Ailare, Lord, ^0
Atb^, Prince (recwves Bnnting'f
third volume), 289
" Aleetrtun's March," 309
"AdiwIh of the Four Muters,"
13«, 171
Anne, St, Library, 20
AntriiD GIeR8, 7
Earl of, 8, 162, 163, ld&
MBTchtoiMBa of, 162
Aran lalanderB, 73
ArebeeolcgkalJmimal (Cork), 114,
146
Arehdale, Mr (eatertoioB Carolan),
161, 162
Aivrle, Duke of, 168
^wpwh Graamach, Earl of,
288
Armafrh (Primatial City, birth-
place of Edward Buntinir), 10,
190,307
Ashbamham, Uird (pnrchawr of
O'Connor of Beliuiagare's col-
lection of hifltorical MSS.)]
171
Bxoatrr St. (Dublin reeidencee of
Bunting), 66, 66
Balfour, Miw Mary, translator of
aong worda, 223, 224, 226
Ballinascreen (in County Deny,
£uDoujB h&Tih-iTiakiiiff centre),
no
Ballinderry (on Lough Neagh.
See Ormun), 10, 271, 272
Ballinrobe, Arthur O'Neill viiita,
160 ; Banting and Lynch pass,
2C7
Ballintnhbar Caatle, 1£7
BaUycartle, U, 32, 142
Bangor (rite of ancient achoola on
BelCwt Longh), 2
Bamea (oisaniat of Armagh,
Bontm^e first tcwiher), 11
Barrett, R. (of BellmnUet), 23iJ,
238,206
Beethoven (his symphoniea prac-
tised in Bel&st), 49, 294, 293,
296
Bel&st Harp Festival. <Stt Harp
Festival)
Belfiist. Lord, 3, 283, 284, 286, 286,
287 ; presents Banting's third
volume to (jneen Victoria and
Prince Consort, 289
Frederick Richard, Lord, XII.,
286
Btifaat NemlfJter, 9, 63, 98, 100,
113, 193
Bewerange, Rev. Professor, 76
Bishop, Henry, 30
Black, Duiiel (harper), 102, 128,
133
Btaehcooif* Magiaitu, 73
Bleat, AlAvd ^ng collector for
Banting), 221, 222
" Book of BaUyroote," 90, 221
Bovd (of BaUycastle), IS, 32, 143
(translator of Dante), 46
Boyeni, 176, 177, 178
" Boyne Water," 310
Bradshaw, Robert, 7, 99, 100, 291
" ' in Borou (his harp " '
pUyed by ffNeiB),
IfiO i his ban), 8£, 87 ; dis-
cosdon concerning the harp,
203,204,206
Brian Boron's " March," 69, 309
Broad woods, Edward and Anthony
Bunting, their agents in Ire-
land, 13, 48, 222, 232, 297,
298
Brace, Dr, 16, 10
Bryson, Rev. A. (Gaelic scholar
and scribe), 46, 134
Banting, Mr, mining engineer
frran Shottle, Derbyshire,
father of Anthony, Eidward,
and John Bunting, 10, 11
Anthony, son of above, born in
Bontii^, Anthony — amlmved
Armagh, orguiiat for muiy
yeMTB in Dn^hed&, hdps to
edaote hia younger brother
Edward, reeiaes Ute in life in
Dublin, has nwnied, but pre-
deceasftd by wife «nd only
child, and aurrivinr Edward
befrienda the widow and
chUdran, 10, 11, 13, S7, 61,
81, 230, 29S, 307
Anthonv (son of Edward), 65,
honv ((
I, 72, 8
Edward, aatbor'a meeting with
his grandson, viji. ; inspec-
tion of hia MubIehI MSS. and
letters, viii., ix. ; necesaity for
BnappreciativcMemoir ix.,x. ;
Bel&st when Banting came
to reside there, 1-3 ; the
Harp Festival, yonng Bunting
records the airs, 9 ; some
account of his origin, 10 ;
early life, 11, 12, 13, 14, IS ;
Harp Festival, the turning
point of his career, 16 ; ex-
peditions through the country,
19 publication of his firat
collection, 23 ; its influence
on Thomas Moore, 24 - 29 ;
Bun ting's &me overshadowed,
27 ; hia tribute to Moore's
ffeniQS, 31 ; Moore's ac-
knowledgment of indebted-
neu, 32 ; Buntdng's prepara-
tions for second volume, 30,
37 ; his acquaintance ndtb
Thomas Rnssell, 40 ; his visit
to the poet Campbell, 46 ;
other London acquaintances,
48 ; banquet celebrating, pub-
lication of second voinme,
48 ; Bel&st Mu^cal Festival,
49, SO ; goes to Dnblui, 61 ;
Banting visits Paris, 62 ;
muriage, 64 ; birth of a son,
65 ; organist at St George's,
Dublin, 66 ; renews hia
labours, 68 ; new associates,
68 ; help from old friends, 70,
71 ; revisits Bel&st, 74 ; the
1840 voinme, 76 ; apprecia-
tions of its importance, 79 ;
hia sudden death, 80 ; Pebie's
description of bis person and
character, 80, 8! ; his remarlcs
on characteristics of Irish
music, 92, 93, 94, 9S ; re-
collections of the old harpera'
style, 107, 113 ; his record of
their trsditiana, 131, 132;
bis acqoaintance with Arthur
O'Neill, 137 ; O'Neill's tribute
to Bunting, 199 ; Bunting's
in veetigationa of ancient harps,
201, 202, 203, 211 ; Bunting
and country singers, 212,
213 ; country wanderings,
216, 217, 218, 219, 221 ;
letters from Loudon, 224,
2201 <nth Lynch in Con-
naught, 266, 267, 2«8; bis
collection at <^kelic song-
words, 2S9-272 ; carrespoDa-
ence with Dr MacDonnell,
274-284 ; his third voinme
dedicated to Queen Victoria,
287 ; letters from Lord Bel-
&st, 287, 289; Dr Mac-
DonneU and Miss M'Crackeu
help its sale, 201 ; business
correspondence with Mr Side-
botham, 293-300 ; last letters
to Mary M'Crackeu, 302, 303,
304 ; letters to his daughter,
30S, 306, 307 ; his acquaint-
ance wiUi &mouB scholars,
309 ; appreciation, 309, 310
Mary, 74, 81, 302, 305, 306,307
Mrs, 62, 64, 65, 72, 74, 82, 286,
302,304
Sarah, 74, 82
Burke, Father T. (of Drogbeda
Harp Society), 58
Thumoth, 23
Buroey, Dr, 224
Byrne, Charles, senior, sometimes
called Berreen, harper, con-
temporary of Caroum, 161,
162
Charles, nephew of above,
also called Bereen, harper.
Byrna, Charlw— conWnuerf
known in age to Banting,
103, 128, 129, 130, 1S6, 161,
174, 176, 186
Cambrbnsis, GnuunTB (tempo
Henry II. and John, tn-
fnentlv quoted aa describing
riah D&rpers' music of that
time), 17, B3, 05, 108
Campbell, Thomas (poet), 22S,
224, 22fi
Carr, William (harper), 103,131,
195
Caatlebar, visited hy A. O'Neill,
IM ; vimted bj Lynch, 240,
242, 244, 267
Catalini, Madame, 62
Cavan, 37, 160, 162, 164, 168
Chamber^ Edinburgh Joumal, 79,
307
Chambers, Robert, 79
Chapman, Mrs, 62, 63, 64
iHiM (Sm Mrs Edward Bnnting)
CharleHlle, bardic Session, 220
Charlotte Elizabeth, 279, 2B9, 290
Chichester, Sir Arthur, 2
Cnocuanoes, Battle of, 276, 276
Coal Island mines, opening of, 10
Cody, James (Irish teacher Bei-
foet), 66, 133, 134, 222, 224,
226
Conlan, Thady (swibe), 219, 22J
Connanght, Banting's fint visit
to, 19, 37, 216
tour of Lynch, joined later by
Bunting, chapters xx., xzi.,
xxii., 227-268
Connellau, William (harper), 88,
180
Thomaa (harper, brother of
above), introduces the air now
known aa " Lochaber No
More" to Scotland, 131, 180
Connor, Mrs, of Bel&st (collects
and sings folk-songs), 226
"Coolin," 48, 89, 104, 160
Coppinger, Mr (of Cork), 144
Corr, Owen (harper), 163
Coorcy, Baron (of Kinmle), 144
Crofton, Mrs, 18; Sir Malby, 169;
tune by Carolan named after
this &mil;, 182
Croome bardic Session, 220
Dalwav harp, print of, published
by Bunting, 201 ; O'Curry's
translation of inscriptiDn on,
201,202
Davis, Thomas (young Ireland poet
and leader, his eulogy of
Irish Music), 310
Delaney, Dean, 23, 1&4, 166
Mrs, 2d, 164, 166
Diary of Thomas Moore, 28, 29,
30
of Lynch, with letters, 2S7-267
Douef^, 2, 3, 160
Street, 13, 36, 63
Place, 63
Don(«h O'Brien (son of Brian
BoTou), through whom the so-
called barp of Brian is said
to have reached Rome, being
taken theuce to England, and
back to Ireland in reign
of Henry VIII. ; General
Vallancey H published account
of this tradition, called into
question by Bunting, 202,
203 ; farther investigated by
Petrie, 303; and finally by
Eugene O'Curry, ZOl
Carbery O'Brien, a later descen-
dant of King Brian, suggested
by O'Curry as the person
whose name gave rise to the
tradition, 206 ; his reputatioa
as a harper and patron o(
poets, 206 ; bis sending of an
ambassador to Scotland to
seek for a lost treasure, 206,
207 ; his friendship for a bard
O'Daly accused ot murder,
and banished to Scotland,
208, 209 ; allusion in ancient
MS. to Donogh Carbery
sending a jewel or treasure
to ransom the bard, 210 ; con-
clusion by O'CniTy that this
jewel was his harp, which
treasured in Scotland, went
Donogh Carbery O'Brien — emid.
to Westminster with Stone of
Scone, thence in Heniy VIII.'s
reif(n to Ireland, to De tradi-
tionally known bs Brian
Borou'sharp, 210
Donovan (we O'Donoran), 68, 289
Downhill houae (where ^e h&rp
of HempeoTi is treasured), 1 18
Drains, primitive Gaelic, 86, 87
Dreunau, Dr {poet of the United
Irishmen), 4S
Drogheda, 11, 13, 3G, 40, 58, 197,
230
Draininond, Kev. Dr, 49, 50
Dublin,. Bunting goes to live in,
G4
Dublin Univerhty Magatme (con-
taining Memoir of Bunting
bv George Petrie), 11, 13, 26,
63, 72, 73, 308
Dnigenan, Jerome (harper), 166
Duncan, James (harper), 103, 12S,
ISfi, 188, 195
Dungan, James, of Copenhagen,
founder of Granard Harp
Festivals, 173, 186, 187, IBS
Edobwortb Mahia (writes an
account of Granara fbatival),
179
Richard, 178, 179
Bmn (harp-maker, Dublin), 54
Rev. Dr., 240, 241, 242, 243
Eglish GrBvevard (bnrial place of
Arthur O'Neill), 140
" EUeen Aroon," 89, 91, 117, 160
KUiott, Thady (harper), 142
Emmet, Robert, 24, 25, 3S, 39,
45, 198
Thomne, 20, 24
Bverard, Mr, 221
Eschanffe Rooms, Belfast, Scene
of tiie Harp Festival, 6, 102,
Panniho, CsarIiEb (harper, first
prize winner at Granard and
Bel&at), 17, 102, 104, 123,
133, 168, 174, 176, 185, IPS,
" Fairy Queen," (by Carolan), 176
feis Ceoil, vu., «0
Fer^mon, L«dy, 72
Sir Samuel (eminent poet and
scholar, editor of much of the
introductory matter in Bunt-
ing's third volume, 48, 72, 73,
74, 76, 78, 137, 140, 277, 278,
285, 286, 288, 289, 303, 309
Kiniicrty, Hiomas (Irish Teacher,
Belfiut), 134, 135, 278, 280,
281,286
Fitzgerald, John Mac Edmond
(in whose house and for whom
the " IMway" harp was
made), 201
Flood, Dr W. H. Grattau, »1 , 120,
121, 122, 227, 228
Folk - Song Society of Ireland,
vii. vm.,27, 60, 76
" Fox's Sleep," 16, 26
Fraser, Hugh (harp teacher),
68
Gaelic Song Words, 18, 19, 36, 37,
43, 46, 71
Galilei Vincentio (Florentine
writer praises the Irish Harp],
84
Gelloway, Earl of, 197
Garner, Mrs, 156, 280, 262
Geminiani, 119, 120
Glenarrtff (Co. Antrim), 7, 101
Glens of Antrim, 7, 8, 158
"Golden Star," 88; anecdote of
Heffernan playing this air
ibr the Earl of Argyle, 16S-
lao
Goldsmith, Oliver (records his
memory of Carolan,) 119
Granard Harp Festiv^a (caUed
Balls), 8, 9, 17, 123, 160, 173,
174, 191, 193
Graves, Alfred Percival (poet and
song collectfo'), 216-271
Hackbtt, MicHARL (ArUior
O'NeiU's guide), 191
Hardiman's Mnttrelty (standard
collection of Gaelic lyrical
poetry), 71
Hup Festivals, Bel&st, 5, 9, 1?,
18 ; cODtemporary documents
and descnplioDs, 97-108 ;
O'NeiU'a account, 193, 194,
196, 196
FeBtivAlB, Grananl, 8, 9, 17,
123,160, 173, 174, 191,193
Key, of Rory Dall CCahan,
167, 170, 171
ofBrian (bo colled), 7S, 140,20-2,
203, 20G, 208. {Ser Don<«li
O'Brien and Doiio^h t'arbery)
of Denis Hempson, made by
CormBC Kelly, 118 ; pre-
served at Downhill, 118
of John Mac Edmond Fitzgerald
(caUed Dalway Harp), 201,
202
Societies, Belfast, 48, 6S, S6, 57,
139, 200
Society, DroehcdB, fi8
Society, Dablin, SS, 57
Hastings, Marquis of (formerly
lord Moira), 67,
Hawken's " History of Music,"
276
" Hawk of Ballyshannon," 284
HeSernan, 162, 163, 168
HemjMoa, Denis (called the
Harper of Maeilligan.) In
Banting's opinion, the only
exponent of very ancient
music at Belfast, 17 ; refer-
ence in Bunting's list of per-
formers, 102 ; memoir, 109-
110 ; harps before Charles
Edward at Holyrood,lll-112;
his last home — description
from Banting's 3rd volame,
113 ; interview with Hempeon
tiaiD l^Aj Morgan's "The
Wild Irish Girl,'' 114, 116,
116, 117, 118; other refer-
ences, 133, 196
Hervey (Earl of Bristol, Bishop
of Derry), 111, 118
Hifgins, Hugh (harper), 103,
106,126, 127, 133, 156,174,
■76, 186, 196
Hill, Lord George (dandng con-
tmt with Udy Morgan), 54
Hogau, sealptor of the Carolaa
Monument in St Patrick's,
Dublin, 55
House of Commons, Dublin, Harp
Contest in, 106
Hudson, Edward (friend of T.
Moore, introduces him to
Banting's collection), 24, 32
William iJUiot (son of above,
collector aaA publislier of
Irish Music J, 306
Hughes, Tom, 41, 55, 74, 137,
259,303
Hyde, Dr Douglas, President of
the Gaelic League, collector
and publisher of Irish Song
Words, X., 216, 269
" If TO * FORKION C'UHB," 26
Ilbrechtach (harper to a bardic
companv), 86, 86
Irish Bngaae (the officer's popu-
larise the harp, 146 ; Monster
recruits, 146 ; a harper of
the Brigades, 1S4 ; history
of, 182
Ldterary Society, London, 60
Jackson, Jambs (harper teacher
for last Belfast Harp Socie^),
68
James 1. of England (anecdote
of Irish harper at his Court),
169, 170
Johnson, Dr Samuel, 170, 171
"Jointure, the," 180
Jonee, Sir William, 71, 292
Joy, Francis (founder of Btlfiut
Mary and Jol
iW M'
'Cracken,
Henry (son of Francis Joy), 6,
16, 76
Henry, junior. Barrister, and
later A ttorney-General , counn
of Mary and John M'Cracken,
collaberated with Bunting
in proee introduc^on to his
second volume, 40, 66, 73,
76, 98, 201, 202, 203, 219,
224, 226, 291, 303
Kane, Echlin or Acland (harper),
IS, 167, 168, 171
Keane, Michael (harper), 16&, 188
Keenan, Owen (harper), 126, 127,
14S, 155
Kelly, Cormac (haq>-niaker), 110,
118
Sergeant (podtmaater of West-
port, suspicious of Lynch),
246, 252, 253
Kenmare, Lord (gives Milesian
banquet), 146, 147, 148, 149
Keogh, John (leader of the Catho-
'■" *"" — ■"'■on, 18th century),
Kerr, Paddy (harper), 153, 173,
174, 176
Kilkenny, Protestant and Catholic
bishops of, patronise O'Neill,
144
Killala, 238, 241
Kincora, 85, 86
Kinsale, 144, 146
Kim'sn, Richard (President of
Royal Irish Academy, scien-
tiat pioneers. Bunting's first
tour in Conoaugfat), 19, 37|
216,227
Kohl, 58, 59
LussDowNE, Lord, 291
Leiaster, Duke of, 298
" Let Erin Remember," 25, 108
Limerick, 258
' ' Limerick's Lamentation " (known
in Scotland as " Lochaber No
More"), 180
Unden, Patrick (poet and harper)
linen Hall Ljbrair (founded by
the Society for promoting
knowledge, which assisted the
publication of Bunting's first
venture), 20, 21, 36, 41, 193
Londonderry, Marchioness of,
helps to recover " Deirdre'e
Lament," 277
Longman, Messrs, 48
" Lord Mayo," 89 ; wrongly
ascribed to Carolan, 261 ;
specimen verseSj 261, 262
316
Loghin Island (home of Patrick
Lynch), 245
Lover, Samuel, 26, 27, 62, 306
Love Songs of Connought, 268
Lynagli, Rev. Dr, 345, 246, 247,
249, 251, 252, 253, 254
Lynch, Patrick, 20, 36, 37, 39, 41,
43, 44, 56, 71, 74, 133, 134 ;
diary and letters, 227-257;
returns from Con naught, 258;
his collection translated but
not published, 259
Lyons, Cornelius (harper and
arranger of modem varia-
tions), 89, 131, ISfi, 160, 161,
162, 171, 196
Mac Cohmkh:, Gilbride (Inrd and
ambassador in the case of
Donogh Carbery's harp), 206,
207,208
Mac Crudan, Giolla • patrick
(musician whose name is in-
scribed on the famous Dalway
harp), 202
MacDermot (harper), 162, 176
Roe, Madame (patroness of
Carotan], 120, 121
MacDonnell, Alastair, 7, 8, 110,
159, 288
Alexander, Captain (seventeenth
century owner of historical
M8S. collection), 205
Alexander, Dr (brother of Or
James), 35, 159, 191, £76
Alexander, Sir (son of Dr
James), 276
Archibald (half brother of Dr
James), 196
Colkitto (father of Alastair who
fought in Montrose's rising,
ancestor of Dr James), 8, 28B
Coll a Voulin (son of Alastair,
great - ^-andbther of Dr
James), 7, 159
Dr James, one of the organisers
of Beltaat Harp Festival, 5, 6,
7, 8, 9, 16, 18, 35, 36, 43, 44,
56, 65, 69, 71, 74, 79, 98, 101,
130, 132, 134, 136, 137, 159,
191, 194, 195, 106, 256;
HacDonnell, Dr James — eoittinuMt
appreciation of hi« medical
career, 273 ; letters to Edward
Bunting, 274, 276, 276, 277,
278, 279, 280, 281, 282, 283,
John Rove (lulf brother of Dr
James), 196
Michael Roire (&ther of Dr
J&mes), 7, 159
Randal (brother of Dr James),
]fi9, 196
MacGillacuddy, 147, 148
Mackliu, Rev. Chas., 52
HacLiag (ancient hard), 85, 86, 88
Mac Lonan (ancient hard), 85
MacRory, Dr l<ouis, viii., xi., 60,
82,223
Mr, 74, 82
MacWiUiam, Burke (said to have
received the Brian Borou
harp from Henry VIII., on
assuminz the title of Clon-
rickarde), 204
M'Adam, Robert (antionary sec-
retary to the last Bd&st Harp
Society), 69, 134, 290, 291
M'Aleer, Ned, Jamea and Frank
(harpers), 153, 154
M'Bride, Edward (harp pupil),
56,58
M'Carten, Rev., 245, 246
M'Cracken, Frank (son of John
M'Crscken, senior), 13, 74
Henry Joy (son of John
M'Ciackeu, senior), executed
in Bel&st 1708, 20, 25, 34, 193
John, senior, shipowner and
merchant, with whose &nuly
Bunting resided during hia
rettdence iu Belfitst, 13
John, junior (son of above),
help«i Bunting materially
in connectioD with second
volume, providing dnning*
fiir engraving, 13, 36, 37,
139, 232, 233, 240, 249, 2fiO,
252,253,254
Margaret, daughter of J
KrCracken, senior, 13
Mary, daughter of J. M'Cracken,
senior, gave active help to
BnnUne in bis labours ; corre-
Bpondea with him till Uie end
of his life, 13, 20, 34, 37, 38,
39, 40, 41, 44, 46, 68, 66, 72,
80, 81, 130, 193, 211, 220,
252, 2S3, 354, 266, 266, 290,
302,303,304
William (son of J. M'Cracken,
senior), 13, 20
M'Grath, Andrew (Muntter bard),
S6
M'flveen, Gilbert (ohairman at
banquet in Bunting's honour),
48
M'Myler, 246, 246, 261, 266
M'Namara, Counsellor (pro~
prietor of the eo-called Brian
Borou harp when O'Neill
visited Limerick, 149
Madden, Dr Robert (historian of
the United Irishmen), 36, 38,
44,227
MagUligan, 19, 55, 76, 111, 113,
117
Magrath, Andrew (Munster
bard), 220
" Maidrin Ruadh," 108
ManseU, Miss, 270, 171
" March of Owen Roe," 223
Martin, Kate (harper), 153, 176,
185
Memoirs of Arthur O'Neill,
137-200; recorded by Tom
Hughes, 303
MatiaK, first Belfast production,
49,293
" Mess of trash " (Bunting's 3rd
collection, so-called by
Moore), 28
Milesian gathering at Killaruey,
146, 147, 148
Milton, on Bel&at Preabyterians,
■1 ; no the names of Dr
MacDonneU'a ancestors, 8
196,281
Moore, Christopher (scnlptor of
Dr MscDonnell'B bnat of
Moore's statue in Dublin),
274
Thomas, poet, who drew largely
on Bunting's collectioiia for
his National Mdodiet, 3, 24,
26, 26, 27, 28, 29, 30, 31 ;
fab acknowledgment of in-
debtodness, 32, 33 ; Bunting
trys to incite Cunpbell to
rivalry, 46, 47
not toMted in BeUast, his
chagrin, 49 ; supports Dublin
Harp Society, S7 ; his rise in
society, 66 ; other references,
71, 76, 79, 177, 214, 220,
224, 274, 278
Museum, College Sqaare, Bel&st,
7, 66, 140
National, Dublin, 167
Trini^ Collie, firiau Borou
harp transferred, ISO
Navan, 142, 144, 230
Newh, Uugh, JO, 22, 271
Neihoo, Samuel (editor of the
Northern Star), 20, 22
Dr, his rranuoar used by the
Harp Society, S6 ; helped in
writing the grammar by
Lyncb, 229
NesbiU, 150, 161
Newport, 236, 238, 240
Norberry, Judge, 198
Northern Star, 20, 103
OBttiEN, DoNooH (lee Donogh),
O' Byrne (Westport merchsut
dealing in Belfast), 265
O'Cahan, Rory Dall (Juirper and
style), 73, 80, 110, 169, 170,
BrigidI
Hem
id (harper, teacher of Dsiua
impson), 110
CCarolau, Torlogh (turper, poet,
and composer, chiefly in
modem s^le}, 18, 52, SS, 57,
78, 88, 109, 113, 119, 120,
121, 122, 164, 160, 161, 162,
164, 189, 192, 269, 260, 261
junior, son of above, 23, 164,
166
O'Connor, Don, The, 167, 171, 206
of Belnagare, 18, 120, 171, 180,
181, 102
O' Curry, Eugene (Antiquary,
; other references, 100,
131, 149 ; translates inscrip-
tion on Dalway harp, 201 ;
inveetintes history of the so-
called Brian Boron harp, 204,
206, 206, 207, 208, 209;
identifies itasharp of Donogh
Carbery, 210 ; gives song to
Bunting, 269 : intimacy with
him, 30e
O'Daly, Carrol (hard and harper),
91
Muireadach (bard, ransomed by
DoDogh Carbery'sharp), 208,
209,210
O'Donnell, Rev. Father, of Bel-
fast, 91
Queen's University, Belfiiat),
68,289
OFlanagau (Professor of Irish),
211-222
CGorman, Chevalier, 203, 204
" Oh, breathe not his Name ! " 24
O'Higgins, Brian (bard, whose
poem gave O'Curry cine to
identity of Brian Borou harp),
210
O' Kelly, Connor, harp-maker, 179
O'l^verty, Rev. Monngnor (harp
collector), historian of " The
dioccee of Uftvtd," 69
(yMsUey, BliDd Billy, 2A0, 2fi6
O'MellsD, Friar, 68
CNeUl, Arthar (harper), 8, fl, 17,
18, 19, 53, 66, 66, 73, 78, 100,
101, 102, 103, 104, 106, 119,
123, 124, 12G, 128, 127, 128,
129, 130, 136, 136, 137, 139 ;
infonna^OD re portrait of,
139 ; memoini, 141-200 ; other
reArencee, 269, 262
CharleB, of Shane's Castle, 142
Hngh, Priuce of Tyrone, 89,
110, 141, 146, 169, 170
Onen Roe, 7, 69, 141
Sir PbeUm, 69
O'Reillf, Miss, of Scarva, 66
Philip (with wham O'Neill spent
dgntsen Christmas days), 168,
Omianic Iavh, 89, 213, 287
O'Sullivan, Mortagh, 18, 146, 146,
147
Oweuson, Sydney (afterwards I^y
Morgan), 61, 62, 63, 64, 55,
114, 121
pAsii, 38, 62, lU
" Parting of Friands," 22
" Pastheen Finn," 309
" Patrick's Day,'' 128
Patrick's Purgatory, 189m
Petrie, George, antiqaary artist,
collectorof folk-songs, author
of Memoir of Bimting in
DtibUn Unioenity Magiame,
oontribntor of essay on Brian
Borou harp to Bunting's third
volume, 11, 16, 2G, 27, 47, 48,
62, 63, »4, 68, 89, 72, 73, 76,
78, 79, 80, 81, 202, 203, 205,
210, 277, 306, 308, 309
Peyton, Toby, 18, 179, 192
QunBM VioToUA accepts dedica'
tioR of Bnnting'sthird volume.
Rainev, V. (harper, iiephew at
Robert Boms), 277
Ram's Island, 22
Reilly, Biddy (harper), 168
J. L. M., of Scarva, 129, 130
Miss, of Scarva, 129 ; Charles
Byrne, 130
Rennie, V^ntine (harper, teacher
of Belfast Societv), 58
Rosemary Street Presbyterian
Cbarch, 49, 60
Royal Irish Academy, 19, 68, 73
Russell, Thomas, 7, 14, 16, 19,
20, 22, ai, 36, 38, 39, 40, 41,
42, 43, 44, 45, 228
Sampson, Rev. Georqe (inter-
viewed the harper Herapson
an behalf of I^y Morgan),
56, 114, 116, 116, 117, 118,
119
Saunderson, Colonel, 32, 162, 163
Colonel Edward, Orange leader,
32, 152
"Scattering of the Company"
(the bardic disoiisBal), 22
School of Mrs John Bunting,
Beliiwt, 63
Schools of Mre Chapman, Dublin,
62 ; Belfiurt, 63
Scotland (Irish harpers in). Hemp-
son at Holyrood, 116 ; Rory
Dall, 169, 170; Echlin
OCohan (or Keane), 171,
Gilbride Mac Comnee, 206,
207,208; Huireadach O'Daly,
208, 209, 210 ; T. Conneilan,
tits to venr ancient poem), 00
Shaftesbary, Karl of. Dedication,
sii., 286
" She ia far from the Land," 24
SigersoD, Dr Geoq^e, 90, 91, 149
Size, Oliver (harper), 144
Skanatt, R. The, 70, 296, 206,
208, 300, 301
Smith, Nelly (haiper) 153
Spain, King of (keeps Irish
harper), 18, 167, 168